Many Catalogue entries include additional material such as studies after other artists, site and historical photographs and vintage postcards.These items are presented here and can be navigated by the following types:
Works by other artists: Cezanne was inspired by artists who preceded him and copied works by other painters such as Eugène Delacroix and Peter Paul Rubens, as well as by sculptors such as Pierre Puget and Jean-Baptiste Pigalle; he painted alongside his colleagues such as Camille Pissarro and Auguste Renoir; and he also copied from photographs or illustrations from contemporary journals. Images of these related works are being added to the catalogue on a regular basis.
Site Photography: Lionello Venturi began to photograph the area around Aix in the early 1930s and published a group of them in his 1936 catalogue raisonné. At about the same time John Rewald and Leo Marchutz began a serious study of Cezanne’s site motifs. As the three men roamed the countryside of Aix, their photographs became vital documents that linked the artist to the present. Rewald continued photographing Cezanne sites in the North and around Aix for nearly six decades. These photographs are now housed in the Photograph Archive at the National Gallery of Art in Washington, D.C. Venturi's 200 or so photographs are held in the Archivio Venturi in Rome.
Contemporary views of Cezanne’s sites have also been photographed in color, notably by Pavel Machotka and by colleagues; many have been published in books and on the website of the Société Paul Cezanne.
Historical Photography: Images of the artist, his family, friends and colleagues are included in this category, as well as interiors that display Cezanne's work.
Postcards: The study of Cezanne’s motifs continues today. Vintage postcards are being collected and published along with the work that the site inspired (many of the postcards are included here as supplementary images, courtesy of Alain Mothe and Raymond Hurtu).
2nd century AD, after a Greek original c. 330 BC, Artémis, déesse de la chasse, dite "Diane de Versailles", marble, Musée du Louvre, Paris. Probably a replica in the Luxemburg Gardens, Paris, was the model for Cezanne's study. Thierry Olivier; Musée du Louvre
Peter Paul Rubens, L'apothéose de Henri IV et la proclamation de la régence de Marie de Médicis, le 14 mai 1610 (The Death of Henry IV and the Proclamation of the Regency) from the Medici cycle, Musée du Louvre, Paris. Erich Lessing; Musée du Louvre
Francesco Laurana, Buste of Beatrice of Aragon, marble, Frick Museum, New York. The plaster cast used as the model for this work was formerly in the Musée de Sculpture comparée in the Palais de Chaillot, Trocadéro, and is now lost.
Circle of Antoinio del Pollaiuolo, Bust of King Charles VIII, Museo Nazionale del Bargello, Florence. A plaster cast was on exhibition at the Musée de Sculpture comparée in the Palais de Chaillot, Trocadéro, from 1882 onward.
Please note that the information on this and all pages is periodically reviewed and subject to change.
Citation: Feilchenfeldt, Walter, Jayne Warman, and David Nash. "Supplemental Material." In The Paintings, Watercolors and Drawings of Paul Cezanne: An Online Catalogue Raisonné. https://www.cezannecatalogue.com/resources/supplemental_images.php(accessed on June 5, 2023).