Madame Cezanne in a Yellow Chair

Possibly Paris, Galerie Vollard, Cézanne, Nov.–Dec. 1895, no cat. Moscow, Offices of the Toison d’Or [Zolotoe Runo], Salon de la Toison d’Or, Apr. 18–May 24, 1908, cat. 15 (ill.), as Portrait de la femme du peintre. Düsseldorf, Germany, Kunsthalle Düsseldorf, Sonderbund Ausstellung, May–June 1909, cat 86, as La femme à la robe grenat. London, French Gallery, Great Masters of the French XIXth Century (Ingres to Picasso), 1926, cat. 5, as Portrait de Mme Cézanne dans un fauteuil, 1890. New York, Paul Rosenberg & Co. at Wildenstein Galleries, Loan Exhibition of Paintings by Paul Cézanne, 1839–1906, Jan. 1928, cat. 19, as Madame Cezanne en robe rouge. Paris, Paul Rosenberg, Exposition d’Oeuvres Importantes de Grands Maîtres du XIXe siecle prétées au profit de la Cité Universitaire de l’Université de Paris, May 18–June 27, 1931, cat. 7 (ill.), as Mme Cézanne en rouge, assise dans un fauteuil jaune, 1888. Paris, Musée de L’Orangerie, Cézanne, May 20–Oct. 11, 1936, cat. 75, as Petit Portrait de Mme Cézanne en rouge. Paris, Paul Rosenberg, Exposition Cézanne (1839–1906), organisée à l’occasion de son centenaire au profit de l’œuvre de l’allaitement maternel, Feb. 21–Apr. 1, 1939, cat. 26 (ill.), as Madame Cézanne au fauteuil jaune, 1892. London, Rosenberg & Helft, Exhibition Cézanne (1839–1906) to Celebrate His Centenary, Apr. 19–May 20, 1939, cat. 17 (ill.), as Madame Cézanne au fauteuil jaune, 1892. Minneapolis Institute of Arts, The Art of Cezanne, Jan. 7–Feb. 5, 1950, no cat. Art Institute of Chicago, Cézanne: Paintings, Watercolors, and Drawings; A Loan Exhibition, Feb. 7–Mar. 16, 1952, cat. 70 (ill.), as Mme. Cézanne in Yellow Armchair, 1890–94; New York, Metropolitan Museum of Art, Apr. 4–May 18, 1952. New York, Paul Rosenberg and Co., Masterpieces Recalled, a Loan Exhibition of 19th and 20th Century French Paintings for the Benefit of the League of Emotionally Disturbed Children, Feb. 6–Mar. 2, 1957, cat. 19 (ill.). Washington, DC, The Phillips Collection, Cézanne: An Exhibition in Honor of the Fiftieth Anniversary of the Phillips Collection, Feb. 27–Mar. 28, 1971, cat. 23 (ill.), as 1893–95; Art Institute of Chicago, Apr. 17–May 16, 1971; Museum of Fine Arts, Boston, June 1–July 3, 1971. Sydney, Art Gallery of New South Wales, Modern Masters: Manet to Matisse, Apr. 10–May 11, 1975, cat. 19 as 893–95; Melbourne, National Gallery of Victoria, May 28–June 22, 1975; New York, Museum of Modern Art, Aug. 4–Sept. 1, 1975. Art Institute of Chicago, European Portraits 1600–1900 in The Art Institute of Chicago, July 8–Sept. 11, 1978, cat. 22 (ill.). Tokyo, Seibu Museum of Art, The Impressionist Tradition: Masterpieces from The Art Institute of Chicago, Oct. 18–Dec. 17, 1986, cat. 48 (ill.), as 1893–95; Fukuoka, Japan, Fukuoka Art Museum, Jan. 5–Feb. 2, 1986; Kyoto, Japan, Kyoto Municipal Museum of Art, Mar. 4–Apr. 13, 1986. Leningrad [Saint Petersburg], Hermitage Museum, Ot Delakrua do Matissa: shedevry frantsuzskoĭ zhivopici XIX–nachala XX veka, iz Muieia Metropoliten v Niu–Ĭorke i Khudozhestvennogo Instituta v Chikago [From Delacroix to Matisse: Great Paintings from the nineteenth century to the Beginning of the twentieth century from the Metropolitan Museum of Art in New York and the Art Institute of Chicago], Mar. 15–May 19, 1988, cat. 36; Moscow, Pushkin State Museum of Fine Arts, June 10–July 30, 1988. Tübingen, Germany, Kunsthalle Tübingen, Cézanne: Gemälde, Jan. 16–May 7, 1993, cat. 42 (ill.), as Madame Cézanne auf gelbem Lehnstuhl (Madame Cézanne au fauteuil jaune). Stockholm, Nationalmuseum, Cézanne i blickpunkten, Oct. 17, 1997–Jan. 11, 1998, cat. 6 (ill.). Saint Petersburg, The State Hermitage Museum, Polʹ Sezann i russkiĭ avangard nachala XX veka [Cézanne and the Russian Avant–Garde of the XX century], Aug. 8–Sept. 24, 1998, cat. 26 (ill), as c. 1890; Moscow, The Pushkin State Museum of Fine Arts, Oct. 5–Nov. 15, 1998. New York, Metropolitan Museum of Art, Cézanne to Picasso Ambroise Vollard, Patron of the Avant–Garde, Sept. 14, 2006–Jan. 7, 2007, cat. 46 (ill.), as Madame Cezanne in a Yellow Armchair; 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. 33. Fort Worth, TX, Kimbell Museum of Art, The Impressionists: Master Paintings from the Art Institute of Chicago, June 29–Nov. 2, 2008, cat. 64 (ill.). Paris, Musée Luxembourg, Cezanne et Paris, Oct. 10, 2011–Feb. 27, 2012, car. 13 (ill.), as Madame Cézanne au fauteuil jaune. New York, NY, The Metropolitan Museum of Art, Portraits of Madame Cézanne, Nov. 19, 2014–Mar. 15, 2015, no cat. no., pl. 20. Paris, Musée d'Orsay, Cézanne Portraits, June 13, 2017–Sept. 24, 2017, cat. 44, as Madame Cézanne au fauteuil jaune; London, National Portrait Gallery, Oct. 26, 2017–Feb. 11, 2018, as Madame Cezanne in a Red Dress, cat. 14.2; Washington DC, National Gallery of Art, Mar. 25–July 1, 2018. Art Institute of Chicago, Cezanne, May 15–Sep. 5, 2022, cat. 36 (ill.); London, Tate, Oct. 5, 2022–Mar. 12, 2023. Stuttgart, Germany, Staatsgalerie Stuttgart, Modigliani Moderne Blicke, Nov. 24, 2023–Mar. 17, 2024, cat. 105 (ill.), as Madame Cézanne im gelben Sessel; Potsdam, Germany, Museum Barberini, Apr. 27–Aug. 18, 2024 [Stuttgart only].

Paul Cézanne–Mappe (Munich, 1912), pl. 12. Ugo Nebbia, “Sul Movimento Pittorico Contemporaneo,” Emporium 38 (December 1913), p. 422 (ill.). Ambroise Vollard, Paul Cézanne (Paris, 1914), pl. 46. Julius Meier-Graefe, Cézanne und sein Kreis: Ein Beitrag zur Entwicklungsgeschichte (Munich, 1922), p. 200 (ill.) André Salmon, Cézanne (Paris, 1923), pl. 10. Kurt Pfister, Cézanne, Gestalt, Werk, Mythos (Potsdam, 1927), pl. 74. Forbes Watson, “Recent Exhibitions,” The Arts 13, 1 (January 1928), pp. 34 (ill.), 35. Forbes Watson, “New York Exhibitions,” The Arts 13, 2 (February 1928), p. 107. Eugenio d’Ors y Rovira, Paul Cézanne (Paris, 1930), p. 52 (ill.). Nina Iavorskaïa, Paul Cézanne (Milan, 1935), p. 16. Lionello Venturi, Cézanne: son art – son oeuvre (Paris, 1936), vol. 1, no. 572, vol. 2, pl. 183. Jacques Combe, “L’influence de Cézanne,” La Renaissance 5-6 (May-June 1936), p. 27 (ill.). René Huyghe, “Cézanne et son oeuvre,” L’Amour de l’Art 17 (May 1936), pp. 160-188, fig. 61. John Rewald, “Cézanne et son oeuvre,” L’Art Sacré (May 1936), p. 8, fig. 18. Albert Barnes and Violette de Mazia, The Art of Cézanne (New York, 1939), no. 135. Raymond Cogniat, Cézanne (New York, 1939), pl. 73. Adrien-Pierre Bagarry, “Le Centenaire de Cézanne,” La Renaissance 22 (March 1939), p. 7. The Art Institute of Chicago, An Illustrated Guide to the Collections of the Art Institute of Chicago (Chicago, 1948), p. 36. Bernard Dorival, Cézanne (New York, 1948), pp. 57-8, pl. 109. Daniel Catton Rich, “Two Great Portraits,” Bulletin of The Art Institute of Chicago 42, 6 (November 15, 1948), pp. 79 (ill.), 81. “A Great Cézanne Goes to Chicago,” Art News 47, 7 (November, 1948), pp. 34-35 (ill.). Erle Loran, “Cézanne in 1952,” The Art Institute of Chicago Quarterly 46, 1 (February 1, 1952), p. 12 (ill.). Meyer Shapiro, Paul Cézanne (New York, 1952), p. 15. The Art Institute of Chicago, An Illustrated Guide to the Collections of the Art Institute of Chicago (Chicago, 1956), pp. 35 (ill.), 36. The Art Institute of Chicago, Paintings in The Art Institute of Chicago: A Catalogue of the Picture Collection (Chicago, 1961), pp. 73, 326 (ill.). Rodolfo Pallucchini, “L’Art Institute of Chicago,”L’Illustrazione del Medico 33, 218 (February 1966), pp. 15-16, fig. 10. John Maxon, “Some Recent Acquisitions,” Apollo 84, 55 (September 1966), p. 216, fig. 6. Anne H. Van Buren, “Madame Cézanne’s Fashions and the Dates of her Portraits,” The Art Quarterly 29, 2 (1966), p. 121. Richard W. Murphy, The World of Cézanne 1839-1906 (New York, 1968), pp. 104-105 (ill.). John Maxon, The Art Institute of Chicago (London, 1977), p. 102 (ill.). The Art Institute of Chicago: 100 Masterpieces (Chicago, 1978), no. 65 (ill.). Michel Hoog, Catalogue de la collection Jean Walter et Paul Guillaume (Paris: Editions de la Réunion des musées nationaux, 1984), p. 32. Michael Howard, Cezanne (London, 1990), pp. 126 (ill.), 127. Richard Verdi, Cézanne (London, 1992), pp. 131, 132, fig. 111. John Rewald, The Paintings of Paul Cézanne: A Catalgoue Raisonné (New York, 1996), vol. 1, p. 422, no. 653, vol. 2., p. 220. Tomàs Llorens Comisario, Forma: El ideal clásico en el arte moderno, exh. cat. (Madrid, Museo Thyssen-Bornemisza, 2001-2), p. 123 (ill.). The Age of Impressionism at the Art Institute of Chicago (New Haven and London, 2008), cat. 64, pp. 136, 137 (ill.). Robert Storr, "La Famille Cezanne," Cézanne and Beyond, exh. cat ( Philadelphia Museum of Art, 2009), Fig. 2.8, pp. 51-53. Susan Sidlauskas, Cézanne's Other. The Portraits of Hortense, Berkeley, Los Angeles and London, University of California Press, 2009, pp. 94, 130-31, 135, 178, plate 14. "Cézanne's Portraiture, The Emotional Brush," The Economist, November 11, 2017, 76 (ill.). Danchev, Alex, et. al., Cézanne Portraits, Exh. cat. (Musée d'Orsay/Gallimard, 2018), 148-157, cat. 44. Achim Borchardt-Hume, Gloria Groom, Caitlin Haskell and Natalia Sidlina, eds., Cezanne, exh. cat. (Chicago: Art Institute of Chicago, 2022), 41-42 fig. 9, 108 cat. 36, 109. Christiane Lange, Ortrud Westheider, Nathalie Lachmann and Daniel Zamani, Modigliani Moderne Blicke, exh. cat. (Munich: London: New york: Prestel, 2023), 266, 268 cat. 105. Maria Kokkori, “The Cezanne Effect in Malevich’s Suprematism,” Experiment 29 (2023): 107 fig. 1, 108–9, 123, 124 fig. 12 (detail), 125.