The Bay of Marseille, Seen from L'Estaque

Amsterdam, Stedelijk Museum, Moderne Kunst Kring, Oct. 6–Nov. 5, 1911, no cat. no. New York, Museum of Modern Art, First Loan Exhibition, Cézanne, Gauguin, Seurat, Van Gogh, Nov. 1929, cat. 18 (ill.), as Landscape at Estaque. Art Institute of Chicago, A Century of Progress: Exhibition of Paintings and Sculpture, June 1–Nov. 1, 1933, cat. 309 (ill.), as L’Estaque, c. 1886–8. Art Institute of Chicago, A Century of Progress: Exhibition of Paintings and Sculpture, June 1–Nov. 1, 1934, cat. 293, as L’Estaque, c. 1886–8. Philadelphia, Pennsylvania Museum of Art, Cézanne, Nov. 10–Dec. 10, 1934, cat. 26, as L’Estaque. Art Institute of Chicago, Masterpiece of the Month, June 1942, no cat. Art Institute of Chicago, Cézanne: Paintings, Watercolors, and Drawings; A Loan Exhibition, Feb. 7–Mar. 16, 1952, cat. 50 (ill.), as L’Estaque, 1886–90; New York, Metropolitan Museum of Art, Apr. 4–May 18, 1952. Seattle World’s Fair, Masterpieces of Art, Apr. 21–Sept. 4, 1962, cat. 50 (ill.), as The Gulf of Marseilles, Seen from L’Estaque, 1886–90. Washington, DC, The Phillips Collection, Cézanne: An Exhibition in Honor of the Fiftieth Anniversary of the Phillips Collection, Feb. 27–Mar. 28, 1971, cat. 21 (ill.), as The Gulf of Marseilles, Seen from L’Estaque, c. 1891; Art Institute of Chicago, Apr. 17––May 16, 1971; Museum of Fine Arts, Boston, June 1–July 3, 1971. Art Institute of Chicago, The Artist Looks at the Landscape, June 22–Aug. 25, 1974, no cat. Albi, France, Musée Toulouse–Lautrec, Trésors impressionnistes du Musée de Chicago, June 27––Aug. 31, 1980, cat. 35 (ill.), as Le Golfe de Marseilles vu de L’Estaque, 1886–90. Los Angeles County Museum of Art, A Day in the Country: Impressionism and the French Landscape, June 28–Sept. 16, 1984, cat. 129 (ill.), as 1886–90 ; Art Institute of Chicago, Oct. 23, 1984–Jan. 6, 1985; Paris, Galeries nationales du Grand Palais, as L’Impressionnisme et le paysage français, Feb. 4–Apr. 22, 1985. Portland, ME, Westbrook College, Joan Whitney Payson Gallery, May 1–Oct. 4, 1985, no cat. Edinburgh, National Gallery of Scotland, Cézanne and Poussin: The Classical Vision of Landscape, Aug. 9–Oct. 21, 1990, cat. 45 (ill.), as The Gulf of Marseilles, Seen from L’Estaque, c. 1886–90. Paris, Galeries nationales du Grand Palais, Cézanne, Sept. 25, 1995–Jan. 7, 1996, cat. 114, as Le Golfe de Marseilles vu de L’Estaque, c. 1886; London, Tate Gallery, Feb. 8–Apr. 28, 1996, cat. 114, as The Gulf of Marseilles Seen from L’Estaque, c. 1886; Philadelphia Museum of Art, May 26–Aug. 18, 1996. Saint Petersburg, The State Hermitage Museum, Cézanne and the Russian Avant–Garde of the XX Century, Aug. 8–Sept. 24, 1998, cat. 20 (ill.) , as Le Golfe de Marseilles vu de L’Estaque, c. 1885–86; Moscow, The Pushkin State Museum of Fine Arts, Oct. 5–Nov. 15, 1998. Washington, DC, National Gallery of Art, Cézanne in Provence, Jan. 29–May 7, 2006, cat. 48, as The Gulf of Marseilles Seen from L’Estaque; Aix–en–Provence, Musée Granet, June 9–Sept. 17, 2006. New York, Metropolitan Museum of Art, Cézanne to Picasso: Ambroise Vollard, Patron of the Avant–Garde, Sept. 14, 2006–Jan. 7, 2007, cat. 37 (ill.); Art Institute of Chicago, Feb. 17–May 13, 2007; Paris, Musée d’Orsay, as De Cézanne à Picasso: Chefs–d'Oeuvre de la galerie Vollard, June 19–Sept. 16, 2007, cat. 27, as Le Golfe de Marseille, vu de l’Estaque. Fort Worth, TX, Kimbell Museum of Art, The Impressionists: Master Paintings from the Art Institute of Chicago, June 29–Nov. 2, 2008, cat. 63 (ill.). Philadelphia Museum of Art, Cézanne and Beyond, Feb. 26–May 17 2009, no cat. no., pl. 197. Art Institute of Chicago, Cezanne, May 15–Sept. 5, 2022, cat. 79; London, Tate, Oct. 5, 2022–Mar. 12, 2023.

F. Jourdain, Cézanne (Paris, 1914), pl. 42. J. Gasquet, “Ce qu’il m’a dit…le motif,” L’Amour de l’Art 1, 8 (December 1920), p. 263 (ill.). A. Fontainas and L. Vauxcelles, Histoire générale de l’art français (Paris, 1922), p. 235. Daniel Catton Rich, “Poussin and Cézanne,” Bulletin of The Art Institute of Chicago 24 (December 1930), pp. 114-117 (ill.). Clarence Bulliet, Art Masterpieces vol. 1 (Chicago, 1933), p. 91. Clarence Bulliet, Significant Moderns and Their Pictures (New York, 1936), pl. 14. John Rewald in Amour de l’Art (May 1936), fig. 105. Lionello Venturi, Cézanne: son art – son oeuvre (Paris, 1936), vol. 1, no. 493, vol. 2, pl. 115. Bernard Dorival, Cézanne (New York, 1948), pl. 77. Josephine Hancock Logan, Sanity in Art (Chciago, 1937), p. 106 (ill.). Bernard Dorival, Cézanne (New York, 1948), p. 76 (ill.). H. F. MacKenzie, Masterpieces of Painting, XIX Century, in the Collections of The Art Institute of Chicago (Chicago, 1946), pp. 26-27 (ill.). Theodore Rousseau, Jr., “Cézanne, 1839-1906,” Journal of the American Association of University Women 46, 2 (January 1953), pp. 75-77. The Art Institute of Chicago, A Brief Guide to the Collections (The Art Institute of Chicago, 1956), p. 36. The Art Institute of Chicago, Paintings in The Art Institute of Chicago: A Catalogue of the Picture Collection (Chicago, 1961), pp. 72, 291 (ill.). Frederick A. Sweet, “Great Chicago Collectors,” Apollo 84 (September 1966), p. 202. René Huyghe, La Relève du reel: impressionnisme, symbolisme (Paris, 1974), p. 195, fig. 171. Diane Kelder, The Great Book of French Impressionism (New York, 1980), p. 401 (ill.). Michael Wilson, The Impressionists (Oxford, 1983), pl. 160. Paul Cézanne, exh. cat. (Madrid, Museo Epañol de Arte Conemporáneo, 1984), p. 234. Bob Niss, “Payson shows 2 ‘gems’,” Portland, Maine, Evening Express (June 7, 1985), p. 10. Richard R. Brettell, Post-Impressionists (Chicago, 1987), pp. 41-42, ill., 117. The Impressionist Tradition: Masterpieces from The Art Institute of Chicago, exh. cat. (Tokyo, Seibu Museum of Art, 1986-87), p. 17. Richard Verdi, Cézanne (London, 1992), p. 127 (ill.). Herbert Henkels, “Cézanne en Van Gogh in het Rijksmuseum voor Moderne Kunst in Amsterdam: de collectie van Cornelis Hoogendijk (1866-1911),” Bulletin van het Rijksmuseum 41, 3-4 (1993), p. 221 (ill.). Isabelle Cahn, Paul Cézanne: L’art et la manière (Paris, 1994), p. 65 (ill.). John Rewald, The Paintings of Paul Cézanne: A Catalogue Raisonné (New York, 1996), vol. 1, p. 57, pl. 51, p. 412, no. 626, vol. 2., p. 211 (ill.). Philip Conisbee and Denis Coutagne, Cézanne in Provance, exh. cat. (Washington: National Gallery of Art; Aix-en-Provence: Musée Granet; Paris: Reunion de musées nationaux, 2006), 15, 55, 134–35, 154 cat. 49, 319. The Age of Impressionism at the Art Institute of Chicago (New Haven and London, 2008), cat. 63, pp. 134–35 (ill.). Katherine Sachs, "Cezanne and Marden: The Almost Perfect Painting," Cézanne and Beyond, Exh, cat (Philadelphia Museum of Art, 2009), Pl. 197, p. 502. Achim Borchardt-Hume, Gloria Groom, Caitlin Haskell and Natalia Sidlina, eds., Cezanne, exh. cat. (Chicago: Art Institute of Chicago, 2022), 38, 151 cat. 79. Madeleine-Perdrillat, Alain. “À Propos Des Vues De La Mer à L'estaque Par Cezanne.” Société Cezanne, January 2023. https://www.societe-cezanne.fr/2023/02/06/a-propos-des-vues-de-la-mer-a-lestaque-par-cezanne-alain-madeleine-perdrillat/>