The Paintings, Watercolors and Drawings of Paul Cezanne
An Online Catalogue Raisonné under the Direction of Société Paul Cezanne
(Formerly directed by Walter Feilchenfeldt, Jayne Warman and David Nash)
FWN 649
L'Éternel Féminin; Le Veau d'or; Le Triomphe de la femme; La Belle Impéria
c.1877
Alternate titles: Apotheose; Das ewig Weibliche; Das Ewigweibliche; L'Éternel féminin; L'Éternel féminin ou Le Veau d'or; L'Éternel Féminin; also known as Le Veau d'or; Le Triomphe de la femme; or La Belle Impéria; La belle Impéria; La Femme; Le triomphe de la femme; Le Veau d'or; Nus – L'éternel féminin; The Eternal Feminine; The Eternal Feminine (L'éternel féminin)
Rewald (299): c.1877; Venturi revised: c.1877; Cézanne fils: 1877; Venturi (247): 1875–77; Rivière: 1877; Reff: after 1880; Machotka et al: 1880
Oil on canvas
17 11/16 x 20 7/8 in. (45 x 53 cm)
Vollard archives: photo no. 379, Annotated by Cezanne's son: 1877
Provenance
Private collection, New York (1970)
Exhibition History
Galerie Vollard, Paris, Paul Cézanne, November 15–December 1899, no. 6, as La belle Impéria.
Salon d'Automne, Grand Palais, Paris, Rétrospective d'oeuvres de Cézanne, October 1–22, 1907, no. 5, as Le Veau d'or, lent by Pellerin.
Palais des Beaux-Arts, Brussels, L'Impressionnisme, June 15–September 29, 1935, no. 10, as L'Éternel féminin, lent by J.V. Pellerin.
Musée de l'Orangerie, Paris, Cézanne, May 20–October 11, 1936, no. 37, as L'Éternel féminin, lent by Pellerin.
Wildenstein Galleries, London, Homage to Paul Cézanne, July 1939, no. 16, lent by Pellerin.
Wildenstein Galleries, New York, Cézanne, March 27–April 26, 1947, no. 13, ill. lent by Wildenstein.
The Art Institute of Chicago, Chicago, Cézanne: Paintings, Watercolors & Drawings, A Loan Exhibition, February 7–March 16, 1952, no. 23, lent by Wildenstein. Traveled to: The Metropolitan Museum of Art, New York, April 1–May 16, 1952.
Instituto Francés de la America Latina, Mexico City, Cien Años de pintura francesa, 1953, no. 22.
Isaac Delgado Museum, New Orleans, Masterpieces of French Painting through Five Centuries, 1400–1900, October 17, 1953–January 10, 1954, no. 80, as L'Éternel féminin, c. 1875-77, lent Anonymously.
Orangerie, Paris, Van Gogh et les peintres d'Auvers-sur-Oise, November 26, 1954–February 28, 1955, no. 13, as L'Éternel féminin, c. 1873.
Knoedler Galleries, New York, The Niarchos Collection, December 3, 1957–January 18, 1958, no. 6, ill. Traveled to: National Gallery of Canada, Ottawa, Canada, February 5–March 2, 1958; Museum of Fine Arts, Boston, March 15–April 20, 1958.
Wildenstein Galleries, New York, Loan Exhibition: Cézanne, November 5–December 5, 1959, no. 11, ill. lent by Hecht.
Wildenstein Galleries, London, The French Impressionists and Some of Their Contemporaries, April 24–May 18, 1963, no. 21, ill. lent by Wildenstein.
Kunstmuseum, Basel, Switzerland, Paul Cézanne: Die Badenden, September 10–December 10, 1989, no. 29, pp. 92–96, pl. 49, p. 82 (detail).
Kunsthalle, Tübingen, Germany, Cézanne Gemälde, January 16–May 2, 1993, no. 12, ill.
Grand Palais, Paris, Cézanne, September 26, 1995–January 14, 1996, no. 42, ill. Traveled to: Tate Gallery, London, February 8–April 28, 1996; Philadelphia Museum of Art, Philadelphia, May 26–September 1, 1996.
Wallraf-Richartz-Museum, Cologne, Faszination Venus: Bilder einer Göttin von Cranach bis Cabanel, October 14, 2000–January 7, 2001, no. 72, ill., as Das Ewigweibliche. Traveled to: Alte Pinakothek, Munich, February 1–April 22, 2001; Koninklijk Museum voor Schone Kunsten, Venus: vergeten mythe, voorstellingen van een godin van Cranach tot Cézanne, Antwerp, Belgium, May 20–August 15, 2001.
Alte Pinakothek, Munich, Venus: Bilder einer Göttin, March 1–April 22, 2001, no. 40, ill., as Das Ewigweibliche.
The Metropolitan Museum of Art, New York, Cézanne to Picasso: Ambroise Vollard, Patron of the Avant-Garde, September 14, 2006–January 7, 2007, no. 29, fig. 33, pp. 32, 337, as L'Éternel Féminin; also known as Le Veau d'or; Le Triomphe de la femme; or La Belle Impéria. Traveled to: The Art Institute of Chicago, Chicago, February 17–May 13, 2007; Musée d'Orsay, Paris, June 19–September 16, 2007.
Louisiana Museum of Art, Humlebæk, Denmark, Cézanne & Giacometti: Paths of Doubt, February 20–June 29, 2008, no. 6, ill. p. 173, as L'Éternel féminin, lent by Getty Museum.
Musée du Luxembourg, Paris, Cézanne et Paris, October 12, 2011–February 26, 2012, no. 44, ill., p. 91, as L'Éternel féminin ou Le Veau d'or, 1877, lent by Getty Museum.
National Art Center, Tokyo, Cézanne: Paris-Provence, March 28–May 11, 2012, no. 47, ill.
Minneapolis Institute of Arts, Minneapolis, Delacroix and the Rise of Modern Art, October 18, 2015–January 16, 2016, no. 19, ill. Traveled to: National Gallery, London, February 17–May 22, 2016.
Staatliche Kunsthalle, Karlsruhe, Germany, Cézanne - Metamorphosen, October 28, 2017–February 11, 2018, no. 8, ill.
The Art Institute of Chicago, Chicago, Cezanne, May 15–September 5, 2022, no. 13, ill. Traveled to: Tate Modern, London, October 6, 2022–March 12, 2023.
Published References
Vollard, Ambroise. "Cézanne's Studio." The Soil 1, no. 3 (March 1917), ill. between pp. 106 and 107.
Coquiot, Gustave. Paul Cézanne. Paris: Ollendorf, 1919, pp. 212–13, as Le triomphe de la femme.
Rivière, Georges. Le Maître Paul Cézanne. Paris: Librairie Floury, 1923, pp. 204, 205, listed twice.
Vollard, Ambroise. Paul Cézanne: His Life and Art. Translated by Harold L. van Doren. New York: Nicholas Brown, 1923, ill. opp. p. 64.
Fry, Roger. "Le développement de Cézanne." L'Amour de l'art 7, no. 12 (December 1926), ill. p. 417, as Apotheose.
Fry, Roger. Cézanne: A Study of His Development. New York: Macmillan, 1927, p. 84, fig. 49, pl. XXX.
Gasquet, Joachim. Cézanne: 24 phototypies. Paris: Librairie de France, [1928], [pl. 6], as Le triomphe de la femme.
Venturi, Lionello. Cézanne: Son Art, Son Oeuvre. Paris: Editions Paul Rosenberg, 1936, no. 247, ill. vol. II, as L'Éternel féminin.
Barnes, Albert C., and Violette de Mazia. The Art of Cézanne. New York: Harcourt Brace, 1939, no. 62, p. 180, ill. (analysis p. 324).
Florisoone, Michel. "Van Gogh et les peintres d'Auvers chez le Dr. Gachet." L'Amour de l'art 31, nos. 64-66 (November, 1952), p. 20, ill.
Fry, Roger. Cézanne: A Study of his Developement. London: Hogarth Press, 1952, p. 84, pl. XXX fig. 49, as La Femme.
Hess, Walter. "Zum Bild des Menschen in der Kunst Cézanne." Die Kunst und das schöne Heim, no. 9 (June 1957), p. 33, ill.
Werner, Alfred. "The Niarchos Treasures at Knoedler's." Art in America 45, no. 3 (Fall 1957), p. 62, ill.
Reff, Theodore. "A New Cézanne Exhibition." The Burlington Magazine 102, no. 684 (March 1960), pp. 114, 117.
Reff, Theodore. "Cézanne's Constructive Stroke." Art Quarterly 25, no. 3 (Autumn 1962), pp. 217, 221, fig. 1.
Lichtenstein, Sara. "Cézanne and Delacroix." The Art Bulletin 46, no. 1 (March 1964), fig. 7.
Badt, Kurt. The Art of Cézanne. Translated by Sheila Ann Ogilvie. Berkeley and Los Angeles: University of California Press, 1965, pp. 278, 291.
Lichtenstein, Sara. "A Sheet of Cézanne's Copies after Delacroix." Master Drawings, vol. 5, no. 2 (Summer 1967), p. 185, fig. 4, as L'Éternel féminin.
Schapiro, Meyer. "The Apples of Cézanne: An Essay on the Meaning of Still-Life." Art News Annual 34 (1968), p. 49, pl. 18.
Cherpin, Jean et al. "L'Oeuvre gravé de Cézanne." Arts et Livres de Provence (Marseille) 82 (1972), ill. p. [56], as L'Éternel féminin.
Dellis, Max. "'L'Eternel Féminin' de Cézanne." Arts et Livres de Provence (Marseille) 81 (1972), pp. 7-10, ill.
Schapiro, Meyer. Paul Cézanne. Translated by Louis-Marie Ollivier. Paris: Nouvelles Editions Françaises, 1973, p. 45, ill.
Boime, Albert. Thomas Couture and the Eclectic Vision. New Haven and London: Yale University Press, 1980, ill. XIII.30, as The Eternal Feminine.
Wetenhall, John. "Cézanne's 'Mont Sainte-Victoire Seen from Les Lauves.'" Pantheon, Internationale Zeitschrift für Kunst 40, no. 1 (January–March 1982), fig. 4, as The Eternal Feminine, c. 1877, Private collection, Lausanne.
Krumrine, Mary Louise. "Parisian Writers and the Early Work of Cézanne." In Cézanne: The Early Years. London: Royal Academy of Arts, 1988. Exhibition catalogue, fig. 19.
Düchting, Hajo. Paul Cézanne: Natur wird Kunst. Cologne: Benedict Taschen Verlag, 1989, p. 79, ill.
Andersen, Wayne V. "Cézanne's L'Éternel Féminin and the Miracle of Her Restored Vision." Journal of Art 3, no. 3 (December 1990), pp. 43–44, ill.
Hoog, Michel. "L'Oeuvre." In Sainte-Victoire Cézanne. Aix-en-Provence: Musée Granet, 1990, p. 200, fig. 179.
Coutagne, Denis. "Cézanne, tradition et modernité." In Sainte-Victoire: Cézanne. Aix-en-Provence: Musée Granet, 1990, p. 84, figs. 30 and 189 (detail).
Krumrine, Mary Louise. "Cézanne's 'Restricted Power': Further Reflections on the 'Bathers.'" The Burlington Magazine 134, no. 1074 (September 1992), fig. 10 and fig. 11 (detail) p. 587, as L'Éternel féminin.
Kendall, Richard, ed. Cézanne & Poussin: A Symposium. Sheffield: Sheffield Academic Press, 1993, pl. 35.
Krumrine, Mary Louise. "Du plongeon aux baigneuses." Dossier de l'art (Dijon), no. 25 (September - October 1995), ill. p. 59.
Doschka, Roland et al. "Das Ewig Weibliche - L'Eternel Féminin." In Das Ewig Weibliche - L'Eternel Féminin: von Renoir bis Picasso. Munich: Prestel, 1996. Exhibition catalogue, ill. p. 8, as L'Éternel féminin, 1875.
Garb, Tamar. "Visuality and Sexuality in Cézanne's Late Bathers." Oxford Art Journal 19, no. 2 (1996), p. 56, fig. 13.
Machotka, Pavel. Cézanne: Landscape into Art. New Haven: Yale University Press, 1996, p. 11, fig. 3, as L'Éternel féminin.
Rewald, John. The Paintings of Paul Cézanne, A Catalogue Raisonné, 2 vols. In Collaboration with Walter Feilchenfeldt and Jayne Warman. New York: Harry N. Abrams, 1996, no. 299, ill. vol. 2, as L'Éternel Féminin; also known as Le Veau d'or; Le Triomphe de la femme; or La Belle Impéria.
Harvey, Benjamin. "Cézanne and Zola: A Reassessment of 'L'Eternel féminin.'" Burlington, vol. 140, no. 1142 (May 1998), p. 313, fig. 19 (details pp. 314, 317, 318, figs. 20, 23, 27).
Mai, Ekkehard. "Entzauberung und Mystifikation: Wechselbilder der Venus-Olympia von Cabanel bis Cézanne." In Faszination Venus: Bilder einer Göttin von Cranach bis Cabanel. Cologne: Wallraf-Richartz-Museum. Snoeck - Ducaju & Zoon, 2000. Exhibition catalogue, p. 194, fig. 15, as Das Ewigweibliche.
Platzman, Steven. Cézanne: The Self-Portraits. Berkeley: University of California, 2001, p. 102, 35, 200, fig. 34, as L'Éternel Féminin; also known as Le Veau d'or; Le Triomphe de la femme; or La Belle Impéria.
Ballas, Guila. Cézanne: baigneuses et baigneurs: thème et composition. Paris: Adam Biro, 2002, ill. pp. 22, 268 (detail), fig. c (detail) p. 266, p. 310, no. 264, ill., as L'Éternel féminin, c. 1877.
Benedetti, Maria Teresa. "Cézanne: le idee, la mostra." In Cezanne: Il padre dei moderni. Milano: Mazzotta, 2002. Exhibition catalogue, ill. p. 27.
Athanassoglou-Kallmyer, Nina M. Cézanne and Provence: The Painter in His Culture. Chicago and London: The University of Chicago Press, 2003, p. 87, fig. 2.36, as L'Éternel Féminin; also known as Le Veau d'or; Le Triomphe de la femme; or La Belle Impéria.
Andersen, Wayne V. Cézanne and the Eternal Feminine. Cambridge: Cambridge University Press, 2004, p. 13, figs. 6, 7 and 8 (detail).
Armstrong, Carol. Cézanne in the Studio: Still Life in Watercolors. Los Angeles: Getty Publications, 2004. Exhibition catalogue, p. 88, fig. 35, as The Eternal Feminine.
Adriani, Götz. "Eine Moderne Olympia." In Bordell und Boudoir. Schauplätze der Moderne: Cézanne, Degas, Toulouse-Lautrec, Picasso. Ostfildern-Ruit: Hatje Cantz, 2005. Exhibition catalogue, ill. p. 82, as Das ewig Weibliche.
Dittmann, Lorenz. Die Kunst Cézannes: Farbe, Rythmus, Symbolik. Cologne: Böhlau, 2005, p. 142, ill. in b/w.
Jensen, Robert. "Vollard and Cézanne: An Anatomy of a Relationship." In Cézanne to Picasso: Ambroise Vollard, Patron of the Avant-Garde. New York: The Metropolitan Museum of Art; New Haven: Yale University Press, 2006. Exhibition catalogue, p. 32, fig. 33, as The Eternal Feminine.
Kear, Jon. "'Frenhofer: c'est moi': Cézanne's Nudes and Balzac's 'Le Chef-d-oeuvre inconnu.'" The Cambridge Quarterly 35, no. 4 (2006), p. 353, fig. 3.
Coutagne, Denis. "Le Femme exposée." In Cézanne et Paris. Paris: Éditions de la Rmn-Grand Palais, 2011. Exhibition catalogue, p. 91, ill., as L'Éternel féminin ou Le Veau d'or.
Coutagne, Denis. Cézanne abstraction faite. Paris: Les Editions du Cerf, 2011, p. 184, fig. 126.
Colrat, Jean. Cézanne: Joindre les mains errantes de la nature. Paris-Sorbonne: PUPS, 2013, p. 182, pl. 75.
Dombrowski, André. Cézanne, Murder, and Modern Life. Berkeley: University of California Press, 2013, p. 227, fig. 92.
Rey, Xavier. "Courbet, Cézanne: Le nu en question." In Courbet/Cézanne: La vérité en peinture. Lyon: Fage éditions, 2013. Exhibition catalogue, p. 95, fig. 7.
Athanassoglou-Kallmyer, Nina M. "Cézanne in the Studio." In The World Is an Apple: The Still Lifes of Paul Cézanne. Hamilton, Ontario: Art Gallery of Hamilton, 2014. Exhibition catalogue, p. 231, fig. 21, as The Eternal Feminine (L'éternel féminin).
Machotka, Pavel. Cézanne: Landscape into Art. Prague: Arbor Vitae, 2014, p. 31, fig. 3, as L'Éternel féminin, dated 1880.
Coutagne, Denis. "Courbet/Cézanne: la vérité en peinture." In Cézanne and the past : tradition and creativity [international symposium, Budapest, Museum of Fine Arts, 28 January 2013]. Budapest: Museum of Fine Arts, 2017, fig. 4.
Marchesseau, Daniel. Paul Cezanne, Le chant de la terre. Martigny: Fondation Pierre Gianadda, 2017. Exhibition catalogue, p. 296, ill.
Dauberville, Guy-Patrice, and Floriane Dauberville. Paul Cezanne chez Bernheim-Jeune. Paris: Editions G-P.F. Dauberville & Archives Bernheim-Jeune, 2020, no. 258, ill., as Nus – L'éternel féminin.
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Record last updated July 20, 2022. Please note that the information on this and all pages is periodically reviewed and subject to change.
Citation: Société Paul Cezanne. "L'Éternel Féminin; Le Veau d'or; Le Triomphe de la femme; La Belle Impéria, c.1877 (FWN 649)." In The Paintings, Watercolors and Drawings of Paul Cezanne: An Online Catalogue Raisonné. www.cezannecatalogue.com/catalogue/entry.php?id=297 (accessed on November 6, 2024).