Pistachio Tree at Château Noir

CC0 Public Domain Designation

Prints and Drawings

c. 1900

Paul Cézanne
French, 1839-1906

Status: Currently Off View
Department: Prints and Drawings

Artist: Paul Cezanne
Title: Pistachio Tree at Château Noir
Place: France (Artist's nationality:)
Date Dates are not always precisely known, but the Art Institute strives to present this information as consistently and legibly as possible. Dates may be represented as a range that spans decades, centuries, dynasties, or periods and may include qualifiers such as c. (circa) or BCE.: 1895–1905
Medium: Watercolor with graphite on cream wove paper, laid down on tan wove paper
Dimensions: 54.2 × 43.3 cm (21 3/8 × 17 1/16 in.)
Credit Line: Mr. and Mrs. Martin A. Ryerson Collection
Reference Number: 1937.1030
IIIF Manifest The International Image Interoperability Framework (IIIF) represents a set of open standards that enables rich access to digital media from libraries, archives, museums, and other cultural institutions around the world. Learn more.: https://api.artic.edu/api/v1/artworks/25838/manifest.json

Lionello Venturi, Cézanne: son art, son œuvre (Paris, 1936), p. 269, no. 1040, pl. 206.
Kate Lancaster Brewster, “The Ryerson Gift to the Art Institute of Chicago,” Magazine of Art 31:2 (Febuary 1938), pp. 98-99 (ill.).
R. Goldwater, “Cézanne in America,” Art News Annual (March 26, 1938), p. 58 (ill.).
Fritz Novotny, Paul Cézanne (Vienna, 1938), p. 196, no. 21.
John Rewald, “The Camera Verifies Cézanne Watercolors,” Art News (September 1944), p. 18 (ill.).
Leopold Zahn, Paul Cézanne—Aquarelles de Paysages (Baden-Baden, 1957).
Musée National d’Art Moderne, De l’Impressionisme à nos jours, exh. cat. (Paris, 1958), pl. 9.
Alfred Neumeyer, Cézanne Drawings (New York and London, 1958), no. 84 (ill.).
Curtis O. Baer, Landscape Drawings (New York, 1973), pp. 316-317, pl. 141.
Stephen Longstreet, The Drawings of Paul Cézanne (Los Angeles, 1964) (ill.).
The Art Institute of Chicago, 100 Masterpieces (Chicago, 1978), p. 113 (ill.).
John Rewald, Paul Cézanne: The Watercolors, a catalogue raisonné (Boston, 1983), p. 214, no. 516 (ill.).
Paul Zelanski and Mary Pat Fisher, The Art of Seeing (Englewood Cliffs, N.J., 1988), pp. 185 and 187, fig. 3.16.
Ruth Fine, Raymond Hernandez-Duran, and Mark Pascale, Contemporary American Realist Drawings The Jalane and Richard Davidson Collection at The Art Institute of Chicago, exh. cat. (New York, 1999), p. 10, fig. 8.
Jean Morman Unsworth, Drawing is Basic (2000).
Elizabeth Prelinger, After The Scream: The late Paintings of Edvard Munch, exh. cat. (Atlanta, 2001).
Walter Feilchenfeldt, Jayne Warman, and David Nash, “Le pistachier dans la cour de Château Noir, II, c.1900 (FWN 1450),” The Paintings, Watercolors and Drawings of Paul Cezanne: An Online Catalogue Raisonné. http://www.cezannecatalogue.com/catalogue/entry.php?id=1498 (accessed on February 1, 2019).

Paris, Bernheim Jeune, “Cézanne,” 1-18 December, 1920, cat. 16, as Jas de Bouffan.
The Art Institute of Chicago, “A Century of Progress,” May 22-November 1, 1933, p. 89, cat. 845, as Jas de Bouffan.
New York, Marie Harriman Gallery, “Cezanne Centennial Exhibition,” November 7-December 2, 1939, cat. 28.
Columbus, Ohio, Columbus Gallery of Fine Arts, “Watercolors by Paul Cézanne,” December 19, 1939-January 8, 1940, cat. 11.
San Francisco, California Palace of the Legion of Honor, “Nineteenth Century French Drawings,” March 8-April 6, 1947, p. 72, cat. 117 (ill.).
The Art Institute of Chicago, “Cézanne: Paintings, Watercolors and Drawings,” February 7-March 16, 1952, cat. 99; traveled to New York, Metropolitan Museum of Art, April 4-May 18, 1952.
Hague, Gemeentemuseum, “Paul Cézanne,” June-July 1956, cat. 76 (ill.).
Zurich, Kunsthaus, “Paul Cézanne,” August 22-October 7, 1956, cat. 123, pl. 56.
Munich, Haus der Kunst, “Paul Cézanne,” October-November 1956, cat. 95 (ill.).
New York, Wildenstein and Company, “Master Drawings from the Art Institute of Chicago,” October 17-November 30, 1963, n.p., cat. 110.
Washington, D.C., Phillips Collection, “Cezanne: An Exhibition in Honor of the Fiftieth Anniversary of the Phillips Collection,” February 27-March 28, 1971, cat. 62 (ill.); traveled to The Art Institute of Chicago, April 17-May 16, 1971, and the Museum of Fine Arts, Boston, June 1-June 30, 1971.
Palm Beach, Fla., Society of Four Arts, “Drawings from The Art Institute of Chicago,” January 5–27, 1974, cat. 4 (ill.).
Paris, Musée du Louvre, “Dessins français de l’Art Institute de Chicago de Watteau à Picasso,” October 15, 1976-January 17, 1977, n.p., cat. 62 (ill.).
Frankfurt am Main, Germany, Städtische Galerie im Städelschen Kunstinstitut, “Französische Zeichnungen aus dem Art Institute of Chicago,” February 10-April 10, 1977, pp. 146-147, cat. 70 (ill.).
New York, Museum of Modern Art, “Cézanne: The Late Work,” October 7, 1977-January 3, 1978, p. 410, cat. 88, p. 87, pl. 66; traveled to Houston, Tex., Museum of Fine Arts, January 22-March 19, 1978.
Paris, Palais du Louvre, “Cezanne,” April-July 1978, cat. 57 (ill.).
Philadelphia Museum of Art, “Cezanne,” May 26-August 18, 1996, p. 437, cat. 184 (ill.).
Washington, D.C., National Gallery of Art, “Cezanne in Provence,” January 29-May 7, 2006, p. 215, cat. 97 (ill.), cat. by Philip Conisbee and Denis Coutagne.
The Art Institute of Chicago, “Cezanne”, May 11 - September 5, 2022, p. 56, 201, cat. 132 (ill.), cat. by Achim Borchardt-Hume, Gloria Groom, et. al.

Sold by Georges Bernheim, Paris, to Martin Ryerson (1856-1932), May 3, 1920 [invoice]; bequeathed to the Art Institute, 1937.

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Date Dates are not always precisely known, but the Art Institute strives to present this information as consistently and legibly as possible. Dates may be represented as a range that spans decades, centuries, dynasties, or periods and may include qualifiers such as c. (circa) or BCE.

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Date Dates are not always precisely known, but the Art Institute strives to present this information as consistently and legibly as possible. Dates may be represented as a range that spans decades, centuries, dynasties, or periods and may include qualifiers such as c. (circa) or BCE.

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IIIF Manifest The International Image Interoperability Framework (IIIF) represents a set of open standards that enables rich access to digital media from libraries, archives, museums, and other cultural institutions around the world.

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