About This Artwork

Paul Cézanne
French, 1839-1906

The Bay of Marseilles, Seen from L'Estaque, c. 1885

Oil on canvas
31 5/8 x 39 5/8 in. (80.2 x 100.6 cm)

Mr. and Mrs. Martin A. Ryerson Collection, 1933.1116

Rewald 626

In scale and resolution, this is the culminating work of a series of landscapes that Paul Cézanne painted at L'Estaque, a Mediterranean fishing village a few miles from Marseilles. During the early 1880s, he came to cherish L'Estaque as a retreat from the complexities of family life. It inspired some of his grandest landscapes, which are remarkable for the sense of deliberation and structure in every brushstroke and the finely balanced palette of blues and ochers.

— Permanent collection label

Exhibition, Publication and Ownership Histories

Exhibition History

Amsterdam, Stedelijk Museum, Moderne Kunst Kring, 1911, no cat. no.

Hamburg, Galerie Commeter, 1921, no cat. no.

New York, Museum of Modern Art, First Loan Exhibition, Cézanne, Gauguin, Seurat, Van Gogh, November 1929, cat. 18 (ill.).

The Art Institute of Chicago, A Century of Progress, Exhibition of Paintings and Sculpture, June 1-November 1, 1933, cat. 309 (ill.).

Philadelphia, Pennsylvania Museum of Art, Cézanne, 1934, cat. 26.

The Art Institute of Chicago, A Century of Progress, Exhibition of Paintings and Sculpture, June 1-November 1, 1934, cat. 293.

The Art Institute of Chicago, Masterpiece of the Month, June 1942, no cat.

The Art Institute of Chicago, Cézanne: Paintings, Watercolors, and Drawings: A Loan Exhibition, February 1-March 16, 1952, cat. 50 (ill.), traveled to New York, Metropolitan Museum of Art, April 4-May 18, 1952.

Seattle World’s Fair, Masterpieces of Art, April 21-September 4, 1962, cat. 50 (ill.).

Washington, D. C., The Phillips Collection, Cézanne: An Exhibition in Honor of the Fiftieth Anniversary of the Phillips Collection, February 27-March 28, 1971, cat. 21 (ill.), traveled to The Art Institute of Chicago, April 17-May 16, 1971 and Boston, Museum of Fine Arts, June 1-July 3, 1971.

The Art Institute of Chicago, The Artist Looks at the Landscape, June 22-August 25, 1974, no cat.

Albi, Musée Toulouse-Lautrec, Trésors impressionnistes du Musée de Chicago, June 27-August 31, 1980, cat. 35 (ill.).

Los Angeles County Museum of Art, A Day in the Country: Impressionism and the French Landscape, June 28-September 16, 1984, cat. 129 (ill.), 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.

Portland, Westbrook College, Joan Whitney Payson Gallery, May 1-September 29, 1985, no cat.

Edinburgh, National Gallery of Scotland, Cézanne and Poussin: The Classical Vision of Landscape, August 9-October 21, 1990, cat. 45 (ill.).

Paris, Galeries nationales du Grand Palais, Cezanne, September 26, 1995-January 1, 1996, cat 114 (ill.), traveled to London, Tate Gallery, February 7-April 28, 1996 and Philadelphia Museum of Art, May 26-August 18, 1996.

St. Petersburg, The State Hermitage Museum, Cézanne and the Russian Avant-Garde of the XX Century, August 8-September 24, 1998, cat. 20 (ill.), traveled to Moscow, The Pushkin State Museum of Fine Arts, October 5-November 15, 1998.

New York, Metropolitan Museum of Art, Cézanne to Picasso Ambroise Vollard, Patron of the Avant-Garde, September 13, 2006-January 7, 2007, cat. 37 (ill.), traveled to The Art Institute of Chicago, February 17-May 13, 2007 and Musée d’Orsay, Paris, June 18-September 16, 2007.

Fort Worth, Tex., Kimbell Museum of Art, The Impressionists: Master Paintings from the Art Institute of Chicago, June 29–November 2, 2008, cat. 63 (ill.).


Philadelphia, PA, Philadelphia Museum of Art, Cézanne and Beyond, February 9- May 6 2009, Plate 197.

Publication History

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.).

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.

Ownership History

Bought from the artist by Ambroise Vollard, Paris ca. 1899 [according to New York 2006-7]; sold to Cornelis Hoogendijk (died 1911), Amsterdam, possibly in May 1899 [according to New York 2006-7, see Musée d’Orsay, Fonds Vollard, MS 421 (4,3) fol 31, May 17, 1899, copy in curatorial file]; by descent to Hoogendijk's heirs and on deposit at the Rijksmuseum, Amsterdam [see Henkels 1993]; sold in shares to Paul Rosenberg, Jos Hessel, and Durand-Ruel, Paris, 1920 [according to New York 2006-7]; sold through Jos Hessel to Martin A. Ryerson (died 1932), Chicago on June 12, 1920 [see purchase receipt, copy in curatorial file]; bequeathed to the Art Institute, 1933.




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