The most prominent and revered feature of the landscape around Aix, jutting high above the plain to the east of the city, the Mont Sainte-Victoire captivated Cézanne throughout his career. Dating to the final years of the artist's life, the present watercolor is part of the last--and arguably the most important--series of landscapes that Cézanne painted of this seminal motif. "For many," Joseph Rishel has proclaimed, "this group of views is the culmination of Cézanne's efforts, his last titanic struggle to weld nature into art through profoundly complex, but finally extremely lucid, workings of color" (in Cézanne, exh. cat., Philadelphia Museum of Art, 1996, p. 468). Likewise, Philip Conisbee has written, "Cézanne was particularly absorbed by the Montagne Sainte-Victoire and the countryside over which it presides in the last few years of his life, and he depicted it with intensity and immediacy... It concerned Cézanne's identity, of course: he felt himself to be this pays d'Aix, that mountain. But it was also a matter of life and death: that is to say, the triumph of life over death, through an art powerful in its engagement with nature--a particular nature surveyed to its fullest advantage from the hill at Les Lauves--and an art dense in matter, rich in chiaroscuro, vibrant in color, passionate in feeling, and which endures in Cézanne's signature motif" (in exh. cat., op. cit., National Gallery of Art, Washington, D.C., 2006, pp. 289-290).
Les Lauves, the hill from which the late views of Mont Sainte-Victoire were painted, is located directly north of Aix, overlooking the town. Cézanne purchased a one-acre plot of land on the south slope of the hill in November of 2001, two years after the Jas de Bouffan, his family home near Aix, had been sold. In the intervening period, the artist had been living and working in an apartment in Aix itself, but had grown frustrated by the lack of privacy and the cramped quarters. Immediately after purchasing the property on Les Lauves, Cézanne engaged an architect and a mason to build a new, two-story house for him. Completed in September of 1902, the house featured a studio roughly 25 feet (8 meters) square, with ceilings soaring to 15 feet (4.5 meters). The large windows offered a panoramic view over Aix and its environs, extending from the Jas de Bouffan in the west to the slopes of Le Tholonet in the east. Cézanne never lived at Les Lauves, choosing instead to come from his apartment in Aix each day to work. By all accounts, however, he was delighted with the new space, writing to Vollard in the fall of 1902, "I have a large studio in the country. I work there, I am better off than in town" (quoted in J. Rewald, The Paintings of Paul Cézanne: A Catalogue Raisonné, New York, 1996, p. 535).
During the last four years of his life, the studio at Les Lauves was the focal point for Cézanne's artistic endeavors. According to Emile Bernard, who worked closely with the painter during this period, Cézanne arrived at Les Lauves, which was about a kilometer's walk from his apartment in Aix, each day at 6:00 a.m. He spent the morning working on projects in the studio itself, including the celebrated Grandes baigneuses, the portraits of his gardener Vallier (see Lot 31), and a group of watercolors depicting the view over the rooftops of Aix. After returning to town for lunch, he spent the afternoon working outdoors, either on Les Lauves (fig. 1) or in the heavily wooded countryside around Le Tholonet (see Lot 32). The late views of Mont Sainte-Victoire, including the present example, were painted from a knoll near the summit of Les Lauves, about one kilometer above Cézanne's studio. From this vantage point, looking almost due east across a wide plain, the mountain presents its most striking profile. The gentle contours of the northern slope (on the left in Cézanne's views) crest in a dramatic peak of rock before falling steeply toward the broad plateau of Le Cengle. John Rewald has written:
"When Cézanne walked up the fairly steep road beyond the studio he built in 1902 and reached the crest of Les Lauves, a fascinating and exhilarating panorama unfolded to his right. From there the familiar mountain...presented itself as an irregular triangle, its long back gently rising to the abrupt, cliff-like front that tapered off to the horizontal extension of the Mont du Cengle. Rather than squatting beneath the immensity of the skies, the mountain seems pointed toward heaven, as imposing as ever, and possibly even more majestic. Floating ethereally in the southern light, it appears like a glorious symbol of Provence" (in op. cit., 1983, p. 240).
Cézanne painted nine major oils and seventeen watercolors of Mont Sainte-Victoire from Les Lauves between 1902 and 1906 (fig. 2; Rewald, nos. 910-916, 931-932, 938; Rewald Watercolors, nos. 581a-597). Although the vantage points are not identical, they are very close together, representing only a slight shift in the artist's line of sight or at most a short walk. As Cézanne wrote in a letter to his son Paul just a month before his death, "The motifs multiply, the same subject seen from a different angle offers subject for study of the most powerful interest and so varied that I think I could occupy myself for months without changing place, by turning now more to the right, now more to the left" (quoted in exh. cat., op. cit., National Gallery of Art, Washington, D.C., 2006 p. 283). Unlike Monet's series paintings of the 1890s, however, Cézanne's late views of Mont Sainte-Victoire were not conceived as an ensemble. Painted over a period of four years, they have different dimensions and orientations, and they vary widely in palette and brushwork. Moreover, in place of the systematic exploration of transitory effects that characterizes Monet's series, Cézanne's paintings from Les Lauves emphasize the timeless, heroic quality of the mountain, silhouetted against the sky.
The watercolors depicting Mont Sainte-Victoire are among the most extraordinary works from this group of paintings. In the present example, Cézanne has divided the mass of the mountain into two zones: the front, lit by the sun, where the paper remains bare, and the back, covered in deep shadow. Emile Bernard, who accompanied Cézanne up Les Lauves in 1904, left a detailed record of how Cézanne painted a watercolor: "His method was remarkable, absolutely different from the usual process, and extremely complicated. He began on the shadow with a single patch, which he then overlapped with a second, then a third, until all those tints, hinging one to another like screens, not only colored the object but modeled its form" (quoted in J. Rewald, op. cit., 1983, p. 238). Cézanne also allowed each patch to dry before applying an overlapping one, preventing the colors from running into one another. Theodore Reff has written, "In Cézanne's late watercolors we discover other aspects of his achievement as a landscape painter. Since their color washes remain transparent no matter how often they overlap, allowing the paper to shine through, its whiteness enhances the luminosity of the already high-keyed greens, blues, crimsons, and yellows so characteristic of the late landscape watercolors, imbuing them with a joyful radiance unmatched in the corresponding oils. Rendered in transparent wash, the Mont Sainte-Victoire becomes a weightless, hovering form, suffused with light like the sky" (in exh. cat., op. cit., Museum of Modern Art, New York, 1977, p. 29).
Although Cézanne painted Mont Sainte-Victoire more frequently from Les Lauves than from any other location, the mountain played a critical role in his oeuvre long before 1902. In the 1880s, he made around twenty views of the mountain from Bellevue, a hill to the southwest of Aix where his sister owned a farm (fig. 3). Heavily influenced by the classical tradition of Poussin, these paintings depict a panoramic view over the verdant valley of the River Arc. A group of pine trees in the foreground functions as a repoussoir device, and the mountain itself closes the sweeping vista in the back. In the mid-1890s, forsaking the bucolic naturalism of the Bellevue sequence, Cézanne painted a series of romantic and expressive views of Mont Sainte-Victoire from the isolated grounds east of Aix, the area of Bibémus quarry and the Château Noir (fig. 4). In these paintings, Cézanne has drawn much nearer to the base of the mountain, and the peak seems to surge up in close proximity. Finally, in the paintings from Les Lauves, Cézanne returned to a distant view of the Aixois landmark. In contrast to the Bellevue paintings, however, the mountain is now the focal point of the composition rather than a mere foil for the densely inhabited valley. Nina Athanassoglou-Kallmyer has concluded, "In his final paintings of Sainte-Victoire, Cézanne succeeded in rescuing the mountain from the mundane bourgeois world in which modernity had steeped it. His abstracted geometric rendering transformed Sainte-Victoire from an image of nature to a natural icon" (in Cézanne and Provence: The Painter in His Culture, Chicago, 2003, pp. 181-182).
(fig. 1) Cézanne painting at Les Lauves, January 1906. Photograph by Kerr-Xavier Roussel. BARCODE 24006989
(fig. 2) Paul Cézanne, La Montagne Sainte-Victoire vue des Lauves, 1902-1904. Philadelphia Museum of Art. BARCODE 24006972
(fig. 3) Paul Cézanne, Montagne Sainte-Victoire, circa 1887. Courtauld Institute of Art Gallery, London. BARCODE 25004045
(fig. 4) Paul Cézanne, La Montagne Sainte-Victoire vue de Bibémus, circa 1897. Baltimore Museum of Art. BARCODE 25004052
La Montagne Sainte-Victoire vue des Lauves
Watercolor over pencil on paper
PROPERTY FROM A PRIVATE COLLECTOR
Paul Cezanne , early 20th Century, Paintings, paper, France, Modern, landscape
London, Paul Cassirer, Paul Cézanne--Watercolours, July 1939, no. 29.
New York, M. Knoedler & Co., Inc., Loan Exhibition of the Collection of Pictures of Erich Maria Remarque, October-November 1943, no. 31.
New York, Wildenstein & Co., Inc., A Loan Exhibition of Cézanne for the Benefit of the New York Infirmary, March-April 1947, no. 74 (illustrated).
The Hague, Gemeentemuseum, Paul Cézanne 1839-1906, June-July 1956, no. 84 (illustrated).
Zurich, Kunsthaus, Paul Cézanne 1839-1906, August-October 1956, p. 44, no. 135 (illustrated, pl. 61).
Munich, Hause der Kunst, Paul Cézanne 1839-1906, October-November 1956, no. 107 (illustrated).
Cologne, Kunsthaus Lempertz, Wallraf-Richartz-Museum, Cézanne, Ausstellung zum Gedenken an sein 50, December 1956-January 1957, no. 49.
Stockholm, Nationalmuseum, Fem Sekler Fransk Konst, August-November 1958, no. 284 (illustrated, pl. 59).
New York, The Museum of Modern Art and Houston, The Museum of Fine Arts, Cézanne: The Late Work, October 1977-March 1978, no. 103 (illustrated, pl. 136).
Los Angeles County Museum of Art, The Triumph of France: Prints and Drawings from Ingres to Picasso, March-May 1983 (illustrated).
Los Angeles County Museum of Art, Monet to Matisse: French Art in Southern California Collections, June-August 1991.
Washington, D.C., National Gallery of Art, Cézanne in Provence, January-May 2006, no. 166.
IMPRESSIONIST & MODERN ART
16 7/8 x 21¼ in. (42.8 x 53.9 cm.)
H.L. Sherman, Cézanne and Visual Form, Columbus, 1952 (illustrated).
L. Zahn, Paul Cézanne: Landschaftsaquarelle, Baden-Baden, 1957, p. 15, no. 12 (illustrated).
W. Rubin, ed., Cézanne: The Late Work, New York, 1977, p. 412, no. 136 (illustrated, p. 326).
J. Rewald, Paul Cézanne, The Watercolors: A Catalogue Raisonné, Boston, 1983, pp. 238-239, no. 592 (illustrated).
Ambroise Vollard, Paris.
Paul Cassirer, Amsterdam.
Walter Feilchenfeldt, Zurich.
Marianne Feilchenfeldt, Zurich (by descent from the above, circa 1953).
Paul Rosenberg, New York.
Norton Simon, Los Angeles.
Lucille Ellis Simon, Los Angeles (by 1983).
Acquired from the above by the present owner, 2000.