About This Artwork

Paul Cézanne
French, 1839-1906

Auvers, Panoramic View, 1873/75

Oil on canvas
25 5/8 x 32 in. (65.2 x 81.3 cm)

Mr. and Mrs. Lewis Larned Coburn Memorial Collection, 1933.422

Rewald R. 221; Unknown #304;; Unknown #1 repro 30;; Unknown #4.

Paul Cézanne painted this work during his first prolonged stay at Auvers, where the older Impressionist painter Camille Pissarro was his companion and mentor. He chose to focus not on a notable, picturesque site—the Oise River or the medieval church of Notre-Dame—but rather on the patchwork formed by the town’s ordinary houses and rooftops. The tall white structure with a single window on the left of the composition is the house of Dr. Paul Gachet, a friend and collector of the Impressionists and the painting’s first owner.

— Permanent collection label

Exhibition, Publication and Ownership Histories

Exhibition History

Paris, Manzi, Joyant & Cie, Exposition d’art moderne, 1912, cat. 15, as Auvers-sur-Oise (Vue panormaique).

The Art Institute of Chicago, Exhibition of the Mrs. L. L. Coburn Collection: Modern Paintings and Watercolors, April 6 – October 9, 1932, cat. 1 (ill.), as Auvers-sur-Oise, Village Panorama, 1873.

The Art Institute of Chicago, A Century of Progress Exhibition of Painting and Sculpture, 1933, cat. 304, as Auvers-sur-Oise, Village Panorama, 1873.

Philadelphia, Pennsylvania Museum of Art, Exhibition of the Works of Cézanne, November 10 – December 10, 1932, cat. 4, as Auvers-sur-Oise, Village Panorama, 1873.

The Art Institute of Chicago, Cézanne, Paintings, Watercolors and Drawings: A Loan Exhibition, February – March 1952, traveled to New York, Metropolitan Museum of Art, April – May 1952, cat. 15 (ill.), as Auvers: Village Panorama, 1873-75.

Paris, Orangerie des Tuileries, Van Gogh et Les Peinters d’Auvers sur Oise, November 24, 1954 – February 28, 1955, cat. 12 (ill.), as Vue d’Auvers, 1873-74.

Los Angeles County Museum of Art, A Day in the Country: Impressionism and the French Landscape, June 28-September 16, 1984, traveled to The Art Institute of Chicago, October 23, 1984-January 6, 1985 and Paris, Galeries nationales du Grand Palais, February 8-April 22, 1985, cat. 69 (ill.), as Auvers, Panoramic View (Auvers, Vue panoramique), 1873-75.

Tokyo, The Seibu Museum of Art, The Impressionist Tradition: Masterpieces From The Art Institute of Chicago, October 18 – December 17, 1985, traveled to Fukoka Art Museum, January 5 – February 2, 1986 and Kyoto Municipal Museum of Art, March 4 – April 13, 1986, cat. 26 (ill.), as Auvers: Panoramic View, 1873-75.

Paris, Grand Palais, Cezanne, September 1995 – January 1996, traveled to London, Tate Gallery, February – April 1996 and Philadelphia Museum of Art, May – September 1996, cat. 31 (ill.), as Vue d’Auvers, c. 1873

Glasgow, Mclellan Galleries, The Birth of Impressionism, May 23 – September 7, 1997, no cat. no., as Auvers: Village Panorama, c. 1873.

Sydney Art Gallery of New South Whales, Australia, The Classic Cezanne, November 28, 1997 – February 28, 1999, cat. 3, Panoramic view of Auvers/Vue panoramique d’Auvers-sur-Oise, c. 1873-74.

New York, The Metropolitan Museum of Art, Cézanne to Van Gogh: The Collection of Dr. Gachet, May – August 1999, traveled to Amsterdam, The Van Gogh Museum, September – December 1999, cat. P.G. II-4, as Panorama (Auvers), 1873.

Newcastle-upon-Tyne, Laing Art Gallery, Exchange loan for Van Gogh/ Gauguin: The Studio of the South, August 15, 2001-June 2, 2002.

New York, Pioneering Modern Painting: Cézanne & Pissarro 1865-1885, June 26 – September 12, 2005, traveled to Los Angeles County Museum of Art, October 20, 2005 – January 2006 and Paris, Musée d’Orsay, February 27 – May 28, 2006, cat. 66, Auvers-sur-Oise, Panoramic View (Vue panoramique d’Auvers-sur-Oise), c. 1875-76.

Madrid, Museo Thyssen-Bornemisza, Van Gogh in Auvers, June 12–September 16, 2007, cat. 1.

Fort Worth, Tex., Kimbell Museum of Art, The Impressionists: Master Paintings from the Art Institute of Chicago, June 29–November 2, 2008, cat. 14 (ill.).

Publication History

Journal des Arts 43 (July 9, 1921), p. 2.

Daniel Catton Rich, “The Bequest of Mrs. L. L. Coburn,” Bulletin of The Art Institute of Chicago 26 (1932), p. 70, as Auvers-sur-Oise, 1873.

Lionello Venturi, Cézanne: son art, son oeuvre vols. 2 (Paris, 1936), no. 150 (ill.), as Auvers, vue panoramique, 1873-75.

R. Goldwater in Art News Annual (March 26, 1938), p. 146 (ill.).

Albert Barnes and Violette de Manzia, The Art of Paul Cézanne (New York, 1939), no. 47, as Auvers-sur-Oise: Village Panorama, 1873-75.

Coronet (May 1939), p. 12 (ill.).

John Rewald, “Cézanne’s Theories About Art,” Art News 47, 7 (November, 1948), fig. 53.

Charles Fabens Kelly, “Chicago: Record Years,” Art News 51, 4 (June-July-August 1952), p. 54, as Auvers-sur-Oise.

Mayer Schapiro, Paul Cézanne (New York, 1952), pp. 44-45 (ill.), as View of Auvers, c. 1874.

M. Raynal, Geneva, 1954, p. 40 (ill.).

David Cooper, “The Painters of Auvers-sur-Oise,” Burlington Magazine 97 (April 1955), p. 103, fig. 8 (ill.).

The Art Institute of Chicago, A Brief Guide to the Collections (The Art Institute of Chicago, 1956), p. 36, as Auvers, Village Panorama.

Paul Gachet, Deux Amis des Impressionistes: Le Docteur Gachet et Murer (Paris, 1956), p. 56, n. 2, as Panorma (Auvers).

The Art Institute of Chicago, Paintings in The Art Institute of Chicago: A Catalogue of the Picture Collection (Chicago, 1961), p. 71, as Auvers: Village Panorama, 1873-75.

John Rewald, “Choquet and Cézanne,” Gazette des Beaux-Arts (July-August 1969), p. 82, under no. 6, reprinted in John Rewald, Studies in Impressionism (London, 1985), p. 165, under no. 6.

Alice Bellony-Rewald, The Lost World of Impressionists (London, 1976), pp. 150-51 (ill.),

John Rewald, Post-Impressionism: From Van Gogh to Gauguin (New York, 1978), p. 362 (ill.), as

René Huyghe, La Relève du reel: impressionnisme, symbolisme (Paris, 1974), no. 179.

F. Elgar, Newe York, 1975, fig. 29.

N. Wadley, London, 1975, pl. 26.

R. Shikes and P. Harper, Pissarro, His Life and Work (New York, 1980), p. 119, ill.

Richard Shiff, Cézanne and the End of Impressionism: A Study of the Theory, Technique, and Critical Evaluation of Modern Art (Chicago and London, 1984), pp. 112, fig. 22, 113-115, as View of Auvers also called Auvers: Village Panorma, c. 1874.

Paul Cézanne, exh. cat. (Madrid, Museo Epañol de Arte Conemporáneo, 1984), p. 232 (ill.), as Vista de Auvers desde lo alto, 1873-75, illustrated only.

B. Bernard, The Impressionist Revolution (London, 1986), p. 247, ill.

Richard Brettell, French Impressionists (Chicago, 1987), pp. 18 (ill.), 19, 117, as Auvers: Village Panorama, c. 1873.

R. Wollheim, Painting as Art (Princeton, 1987), fig. 1.

Hajo Düchting, Paul Cézanne 1839-1906: Natur wird Kunst (Cologne, 1990), pp. 66 (ill.), 72, as Blick auf Auvers, c. 1874.

Michael Howard, Cézanne (London, 1990), p. 66, 67 (ill.), as Auvers, Panoramic View, 1873-75.

Philippe Dagen, Cézanne (Paris, 1995), p. 57 (ill.), 59, as Auvers, vue panoramique, 1873-75.

Charles de Lartigue, Les paysages de Paul Cézanne (Lyon, 1995), pp. 74, as Auvers, vue panoramique, c. 1873-75.

John Rewald, The Paintings of Paul Cézanne: A Catalogue Raisonné (New York, 1996), vol. 1, p. 161, no. 221, vol. 2, p. 73, as Vue panoramique d’Auvers-sur-oise, 1873-74.


Guillermo Solana, Van Gogh: Los Últimos Paisajes, (Museo Thyssen-Bornemisza), p. 58 (ill.), cat. 1.

The Age of Impressionism at the Art Institute of Chicago (New Haven and London, 2008), cat. 14, pp. 50, 51 (ill.).

Ownership History

Dr. Paul Gachet, Auvers-sur-Oise (died 1909), c. 1873/74 to 1909 [this and the following information according to New York 1999]; sold by Paul Gachet fils before 1912. Ambroise Vollard, Paris [according to Rewald 1996; the painting is included in Vollard photographic archives as no. 209]. Manzi, Joyant et Cie, Paris by 1912 [see Paris 1912]. Possibly Georges Viau, Paris [according to 1921 auction catalogue citied below and Venturi 1936]. Alfred Strolin, Paris; his sale, Paris, Hôtel Drouot, July 7, 1921, lot 7 (ill.), as Auvers-sur-Oise Vue panoramique du village, sold for 65,500 francs [according to Annuaire des Ventes, vol. 3, Paris, 1920/21 and Bulletin de l’Art Ancien et Moderne, vol. 23, no. 672, August 10, 1921]. Hector Brame, Paris [according to Rewald 1996]. Durand-Ruel, Paris and New York [stock no. 4703 and no. 11906, based on labels on reverse and Registrar archival card, copy in curatorial file]. Annie S. Coburn (died 1932), Chicago by 1932; bequeathed to the Art Institute, 1932.




View mobile website