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Un dessert
Alternate titles: Cantuccio di tavola; Dessert; Ein Dessert; Nature morte; Still life; Still Life with a Dessert; Stilleben
Rewald: (337) 1877–79; Venturi: (197) 1873–77; Venturi revised: c.1877
Oil on canvas
23 3/16 x 28 11/16 in. (59 x 73 cm)
Signed lower right in red: P. Cezanne.


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decade: 1870–79 »
theme: Still life »

Exhibition History

1877 Paris: 6, rue Le Peletier, Troisième Exposition de peinture, no. 17, 18 or 19, Nature morte.
1902a Paris: Grandes Serres, Salon des Artistes Indépendants, 18e Exposition, no. 321, tentative identification, Nature morte.
1905 London: Grafton Galleries, Pictures by Boudin, Cézanne, Degas, Manet, Monet, Morisot, Pissarro, Renoir, Sisley, no. 39, ill. (dated 1878), Dessert.
1908 Paris: Galerie Durand-Ruel, Exposition de natures mortes par Monet, Cézanne, Renoir, etc., no. 13 (dated 1878), Un dessert.
1908b Berlin: Paul Cassirer, [group exhibition], XI. Jahrgang, Winter 1908/1909, II. Ausstellung, no. 20, Ein Dessert.
1917 Zürich: Kunsthaus, Französische Kunst des XIX und XX. Jahrhunderts, no. 22, ill. (dated 1878), Un dessert, lent by Durand-Ruel.
1923c Paris: L'Art français au service de la science française, no. 163, Un dessert, lent by Durand-Ruel.
1924a Paris: Galerie Bernheim-Jeune, Exposition Paul Cézanne (au profit de la caisse du monument Cézanne)
1925 Vienna: Die führende Meister der französische Kunst im 19. Jahrhundert (Secession), no. 85, ill, Stilleben, lent by Durand-Ruel.
1928 Philadelphia: Pennsylvania Museum of Art, Pa, Inaugural Exhibition, lent by Tyson.
1928d New York: Wildenstein Galleries, N.Y, Paul Cézanne, no. 3, Nature morte, lent by M/M Tyson.
1934 Philadelphia: Pennsylvania Museum of Art, Pa, Cézanne, no. 23, ill. (dated c. 1885), Still life, lent by Private collection, Philadelphia.
1947 Philadelphia: Philadelphia Museum of Art, Pa, Masterpieces of Philadelphia Private Collections, no. 11.
1947b New York: Wildenstein Galleries, N.Y, Cézanne, no. 10, ill, lent by Tyson.
1983 Philadelphia: Philadelphia Museum of Art, Pa, Cézanne in Philadelphia Collections, no. 4, ill, lent by Philadelphia Museum.
2009 Philadelphia: Philadelphia Museum of Art, Pa, Cézanne and Beyond, pl. 78, p. 252, Un dessert.
2014–15 Paris and traveling: Musée du Luxembourg, Paris, Paul Durand-Ruel: Le Pari de l'Impressionnisme, no. 5, fig. 128, (shown in Philadelphia only).

Published References

Dewhurst 1903: "Impressionist Painting. Its Genesis and Development," p. 168, ill.
Mauclair 1903: The French Impressionists, p. 149, ill, Dessert.
Pica 1908: Gl'Impressionisti Francesi, p. 197, ill, Cantuccio di tavola.
Fénéon 1920: "Les grands Collectionneurs: M. Paul Durand-Ruel," p. 269, ill, Un dessert.
Klingsor 1923: Cézanne, pl. 6.
Rivière 1923: Le Maître Paul Cézanne, ill. opp. p. 182, Nature morte.
Denis 1924b: "Le Dessin de Cézanne," p. 40, ill.
Venturi 1936b: Cézanne: Son Art, Son Oeuvre, 2 vols., no. 197, ill. vol. 2, Un dessert.
Matisse 1945: "De la couleur," p. 9.
Rewald 1948b: Paul Cézanne: A Biography, fig. 71.
Rewald 1950a: Cézanne, fig. 54.
Raynal 1954: Cézanne, p. 42, ill.
Rewald 1954b: "The Collection of Carroll S. Tyson, Jr, Philadelphia, U.S.A," p. 68, ill. p. 65.
Gazette des Beaux-Arts 1964: "Chroniques des Arts," p. 71, no. 233.
Jayne 1964: "Tyson Collection: A Painter's Eye on Masterworks," p. 30, ill.
Rewald 1964: "The Collection of Carroll S. Tyson, Jr, Philadelphia, U.S.A," p. 73, ill.
Murphy 1968: The World of Cézanne, 1839–1906, p. 134.
Rewald 1969: "Chocquet et Cézanne," fig. 17, pp. 56, 83.
Flam 1973: Matisse on Art, p. 101.
Venturi 1978: Cézanne, p. 22, ill.
Monneret 1981: L'Impressionnisme et son époque, vol. 4, p. 157, ill. hanging in Durand-Ruel dining room (photograph erroneously dated 1896).
Kitschen 1995: Cézanne: Stilleben, fig. 30.
Rewald 1996: The Paintings of Paul Cézanne, A Catalogue Raisonné, 2 vols., no. 337, ill. vol. 2, Un dessert.
Lewis 2000: Cézanne, p. 180, pl. 113.
Elderfield 2009: "Picasso's Extreme Cézanne," p. 252, pl. 78, Still Life with a Dessert, dated 1877 or 1879.
Hirsh 2009: "For the Love, and Fear, of Painting: Cézanne, Morandi, and Italian Modernism," p. 352, ill, p. 252, pl. 78, Still Life with a Dessert, dated 1877 or 1879.
Echte and Feilchenfeldt 2013b: Kunstsalon Cassirer: Die Ausstellungen 1908-1910 «Ganz eigenartige neue Werte», Vol. 4, p. 44, ill.
Warman 2015: "Chocquet und Cézanne – eine einzigartige Freundschaft," p. 105, pl. 63.


Scholars seem to agree that the still life was painted in the rue de Rivoli apartment belonging to the collector Victor Chocquet, but the date of execution has differed. Cézanne met the collector in Paris in late 1875, left for the Midi in April 1976 and returned to Paris in early September 1876. The painting was exhibited in the Third Impressionist exhibiton, which opened in April 1877, and bears a red signature like most of the other works by the artist shown. It would seem, then, that the still life was executed between September 1876 and April 1877. But had he completed the work to his satisfaction? Léo Marchutz advanced the notion that Cézanne reworked the still life after the Third Impressionist exhibition, based on his observation that the edges of the canvas were more thinly painted than the heavy impasto of the central area. (See Rewald, 1996, p. 227)

Henri Matisse recalled seeing this painting in one of the Indépendants exhibitions (probably 1902): "I can still hear old Pissarro exclaiming at the "Indépendants," in front of a very fine still-life by Cézanne representing a cut crystal water carafe in the style of Napolean III, in a harmony of blue: 'It's like an Ingres.'

When my surprise passed, I found, and I still find, that he was right. Yet Cézanne spoke exclusively of Delacroix and of Poussin." (H. Matisse, Observations on Painting, 1945, quoted in Flam, 1973, p. 101)

Page citation: Feilchenfeldt, Walter, Jayne Warman, and David Nash. "Un dessert, 1877–79 (cat. no. 745)." The Paintings of Paul Cézanne: An Online Catalogue Raisonné. (accessed June 22, 2018).
Record last updated December 14, 2017. Please note that the information on this and all pages is periodically reviewed and subject to change.