Cézanne et l'argent. Salons, marchands et collectionneurs

Cézanne and money. Shows, dealers and collectors

NT105921
FRENCH LANGUAGE

Through Cézanne's confrontations with the supporters of official taste in painting, this book offers a history of the art market, of the constitution of collections and of the different pictorial currents that opposed each other at the end of the 19th century, leading to the birth of...
Read more
-{{ Math.floor(lowestprice.prices.user.percent) }}%
-{{ Math.floor(selectedVariant.prices.user.percent) }}%
From {{ lowestprice.prices.user.price_tax_display }} {{ lowestprice.prices.user.price_strike_tax_display }} {{ lowestprice.prices.user.label }}
{{ price.price_tax_display }} {{ price.label }}
Public price {{ lowestprice.prices.suggested.price_tax_display }} {{ lowestprice.prices.suggested.price_strike_tax_display }}
excl. taxes
{{ selectedVariant.prices.user.price_tax_display }} {{ selectedVariant.prices.user.price_strike_tax_display }} {{ selectedVariant.prices.user.label }}
{{ price.price_tax_display }} {{ price.label }}
Public price {{ selectedVariant.prices.suggested.price_tax_display }} {{ selectedVariant.prices.suggested.price_strike_tax_display }}
excl. taxes
Last available items
Sold by Réunion des Musées Nationaux

Characteristics

Number of pages
140
Museums
Autres musées, Musée d'Orsay, Musée de l’Orangerie
Art movement
Impressionism
Dimensions
11 x 19,1 x 1,1 cm
Artist
Paul Cézanne (1839-1906)
Reference
NT105921
EAN
9782711859214
Publication date
Octobre 2011
Diffusor
EDITIONS FLAMMARION
Distributor
EDITIONS FLAMMARION
Conservation museum
Paris - Musée du Luxembourg

Our selection

Literature & essays

The work and its artist

Paul Cézanne (1839-1906)

Born in France, he studied painting at the Swiss Academy and forged links with the future Impressionists. In 1886, Zola, his friend Zola, dates him, uses him as a model to describe a failed painter. This is the end of their long friendship. On the other hand, he still has a very good relationship with Pissarro, whom he worships as a master: he works with him for two years but in 1877, he splits off from this movement. His research made him the precursor of cubism: drawing and colour became inseparable from the arrangement of the painting, which was organized from the inside.