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Avenue at Chantilly

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Avenue at Chantilly

Avenue at Chantilly

Artist Paul Cézanne (French, 1839-1906)
Place of OriginChantilly, France
Date1888
DimensionsPainting: 32 × 25 1/2 in. (81.3 × 64.8 cm)
Frame: 44 × 37 3/4 × 4 3/4 in. (111.8 × 95.9 × 12.1 cm)
Mediumoil on canvas
ClassificationPaintings
Credit LineGift of Mr. and Mrs. William E. Levis
Object number
1959.13
Not on View
Label TextPaul Cézanne combined classical structural stability with a new sense of respect for the inherent two-dimensionality of painting. By doing so, he established tension between the illusion of spatial depth and the flatness of the painted surface. In Avenue at Chantilly he denied a deep, tunneling plunge toward the house in a variety of ways. The dense blue shadows beneath the trees, the brightness and clarity of the distant building, and the undefined edges of the path disrupt a coherent recession into depth, flattening out the image. He also strategically repeated colors with hatch-like brushstrokes throughout the canvas. Often called the “Father of Modern Art,” Cézanne had a direct influence on two of the most important artists of the 20th century: his color theories had a great impact on Henri Matisse (1869–1954), and his geometric structure of space led Pablo Picasso (1881–1973) toward the development of Cubism.Published ReferencesW. Weisbach, Impressionism in der Antike und Neuzeit, Berlin, 1910-1911, II, pp. 160-161, repr.

A. Vollard, Paul Cézanne, Paris, 1914, pl. 48.

L. Venturi, Cézanne, son art, son oeuvre, Paris, 1936, I, no. 627, II, pl. 201.

G. Rivière, Cézanne, le peintre solitaire, Paris, 1936, p. 142.

The Painting of France Since the French Revolution, San Francisco, The Recorder printing and Pub. Co., 1940, no. 4, repr. p. 88.

Wehle, Harry, "French Painting from David to Toulouse-Lautre," Bulletin, Metropolitan Museum of Art, vol. 36, 1941, p. 31.

"Masterpieces of French Art," Bulletin, Art Institute of Chicago, vol. 35, 1941, p. 54.

M. Schapiro, Paul Cézanne, New York, 1952, pp. 14, 80, repr. p. 81.

"Treasures for Toledo," Toledo Museum of Art Museum News, vol. 7, no. 4, Winter 1964, repr. p. 107.

Wittmann, Otto, "Treasures at Toledo, Ohio," Apollo, vol. LXXXI, no. 35, Jan. 1965, pp. 28-35, repr. p. 35.

Bruner, Louise, "The Toledo Museum of Art," American Artist, vol. 30, no. 4, April 1966, pp. 33-39, 71, 76, repr. p. 39.

A Guide to the Toledo Museum of Art, Toledo, 1966, repr.

Sutton, Denys, "Nineteenth-Century Painting: Trends and Cross-Currents," Apollo, vol. 86, no. 70, Dec. 1967, p. 495, repr. fig. 32, p. 494.

Friend, David, The Creative Way to Paint, New York, 1967, p. 185, repr. p. 184.

Spaeth, Eloise, American Art Museums, New York, 1969, rev. ed., p. 205.

Lee, Katharine C., "French Impressionism and Post-Impressionism," Toledo Museum of Art Museum News, vol. 12, no. 3, Autumn 1969, repr. (col.) p. 73.

A. Gatto and S. Orienti, L'opera completa di Cézanne, Milan, 1970, no. 665, repr.

The Toledo Museum of Art, The Toledo Museum of Art, European Paintings, Toledo, 1976, p. 35, pl. 26.

Salmon, Marie-José, D'Oudry à Le Sidaner: Ils ont aimé l'Oise, Beauvais, 1990, repr. p. 130, (col.).

Verdi, Richard, Cézanne and Poussin: the Classical Vision of Landscape, Edinburgh, National Galleries of Scotland, 1990, no. 44, p. 151, repr. (col.).

The Toledo Museum of Art, Toledo Treasures, Toledo, 1995, p. 140, repr. (col.).

Cachin, Francoise, Cezanne, Philadelphia, Philadelphia Museum of Art, 1995, no. 118, pp. 305-306, repr. (col.).

Machotka, Pavel, Cézanne: landscape into art, New Haven, 1996, pp. 22, 73, 83, 128, 130-131, fig. 115 (col.).

Wilkin, Karen, Paul Cézanne, New York, 1996, repr. p. 201 (col.).

Rewald, John, The paintings of Paul Cézanne, a catalogue raisonné, New York, 1996, no. 616, vol. I, p. 407, vol. II, repr. p. 206.

"Divers," L'Annee Cezannienne: Bulletin de la Société Paul Cézanne, no. 1, 1999, p. 50.

Cézanne: finished-unfinished, Vienna, 2000, p. 288, fig. 1.

Sievers, Ann. H., Master drawings from the Smith College Museum of Art, New York, 2000, p. 177, fig. 1, p. 178.

The Berggruen Collection, New York, Phillips sale, May 7, 2001, p. 22, fig. 2.

Taylor, Bradley L., "The effects of surrogation on viewer response to expressional qualities in works of art," unpublished Ph.D. dissertation, University of Michigan, 2001, pl. M3, p. 184.

Sachs, Samuel, Masterpieces of European Painting from the Toledo Museum of Art, New York, Frick, 2002, p. [3, 16], repr. (col.).

Herman, Amy, "Masterpieces of European Painting from the Toledo Museum of Art," The Frick Collection Members' Magazine, Fall 2002, p. 6, repr. p. 7 (col.).

Toledo Museum of Art, Toledo Museum of Art Masterworks, Toledo, 2009, p. 276, repr. (col.).

Reich, Paula, Toledo Museum of Art: Map and Guide, London, Scala, 2009, p. 42, repr. (col.)

Cézanne, Paul, and Denis Coutagne, Cézanne and Paris, Paris, Éditions de la RMN-Grand Palais, 2011, p. 190, fig. 103 (col.) p. 190. (not in exhibition).

Cahn, Isabelle, Cezanne and the Past: Tradition and Creativity, Budapest, Museum of Fine Arts, 2013, no. 118, p. 412-413.

Solana, Guillermo, Cezanne: Site/Non-site, Madrid, Museo Thyssen-Bornemisza, 2014, pp. 46-47, repr. det. (col.) p. 47, repr. (col.) p. 59, cat. 8.

Feilchenfeldt, Walter, Jayne Warman, and David Nash, "L'Allée à Chantilly, 1888" The Paintings of Paul Cézanne: An Online Catalogue Raisonné, 2014, cat. no. 244,Link to resource.

Borchardt-Hume, Achim, ed., Cezanne, Chicago: Art Institute of Chicago, 2022, cat. 83, repr. (col.) p. 154.

Muntwyler Stefan et al., Das Farbenbuch: 367 Pigmente Und Farbstoffe 17 Pigmentanalysen Von Gemälden 19 Farbgeschichten , Alataverlag, Elsau, 2022, p. 436, Abb.1, repr. (col.) p. 437.

Exhibition HistoryCologne, Sonderbund, International Kunstaustellung, 1912, no. 136.

Berlin, Cassirer, Cézanne, 1921, no. 12.

Buenos Aires, Museo Nacional de Bellas Artes, Montevideo, Rio de Janeiro and Sao Paolo, La Pintura Francesca, de David a Nuestros Dias, July-Aug. 1939, no. 8.

San Francisco, H.M. de Young Museum, The Painting of France Since the French Revolution, Dec. 1940-Jan. 1941, no. 4.

New York, Metropolitan Museum of Art, French Painting: David to Toulouse-Lautrec, 1941, no. 6.

Chicago, Art Institute of Chicago, Masterpieces of French Art Lent by the Museums and Collectors of France, Apr. 10-May 20, 1941, no. 13.

Washington, National Gallery of Art, on loan as the property of Mme. Fuerstenberg, Berlin, Feb. 11, 1942-Apirl 21, 1948.

New York, Museum of Modern Art, 1948, lent by William A. M. Burden.

New York, The Century Association, Trends in European Painting 1880-1930, 1949, no. 4.

Toledo, The Toledo Museum of Art, What is Modern Art?, March 1960.

Edinburgh, National Galleries of Scotland, Cézanne and Poussin: the Classical Vision of Landscape, 1990, no. 44

Paris, Galeries nationales du Grand Palais; London, Tate Gallery; Philadelphia Museum of Art, Cezanne, 1995-1996, no. 118.

Louvre, Paris, France. 1995-96.

New York, Frick, Masterpieces of European Painting from the Toledo Museum of Art, Oct. 29, 2002-Jan. 5, 2003.

Budapest, Museum of Fine Arts, Cezanne and the Past: Tradition and Creativity, Oct. 25, 2012 - Feb. 17, 2013, no. 118.

Madrid, Museo Thyssen-Bornemisza, Cezanne: Site/Non-site, Feb. 4-May 18, 2014.

Toledo, Toledo Museum of Art, From the Collection: 300 Years of French Landscape Painting, Jul. 17-Oct. 11, 2015.

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