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Casino Jas De Bouffan Telephone

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Casino Jas De Bouffan Telephone Lookup

Full titleThe Avenue at the Jas de Bouffan
ArtistPaul Cézanne
Artist dates1839 - 1906
Date made1868-70, possibly later
Medium and supportOil on canvas
Dimensions38.1 × 46 cm
Acquisition creditOn loan from Tate: Bequeathed by the Hon. Mrs A.E. Pleydell-Bouverie through the Friends of the Tate Gallery 1968
Inventory numberL697
LocationGallery B
Image copyrightOn loan from Tate: Bequeathed by the Hon. Mrs A.E. Pleydell-Bouverie through the Friends of the Tate Gallery 1968, © 2000 Tate
CollectionMain Collection
Paul Cézanne

Full title	The Avenue at the Jas de Bouffan
Artist	Paul Cézanne
Artist dates	1839 - 1906
Date made	1868-70, possibly later
Medium and support	Oil on canvas
Dimensions	38.1 × 46 cm
Acquisition credit	On loan from Tate: Bequeathed by the Hon. Mrs A.E. Pleydell-Bouverie through the Friends of the Tate Gallery 1968
Inventory number	L697
Location	Gallery B
Image copyright	On loan from Tate: Bequeathed by the Hon. Mrs A.E. Pleydell-Bouverie through the Friends of the Tate Gallery 1968, © 2000 Tate
Collection	Main Collection

Alternating strips of light and dark green paint show sunlight playing on the trees late one summer afternoon. The view has been cropped at the top to give the painting an impression of depth, despite its small size.
This avenue of chestnut trees at Cézanne's father's country house was one of the artist's favourite motifs.

Full titleThe Avenue at the Jas de Bouffan
ArtistPaul Cézanne
Artist dates1839 - 1906
Date made1868-70, possibly later
Medium and supportOil on canvas
Dimensions38.1 × 46 cm
Acquisition creditOn loan from Tate: Bequeathed by the Hon. Mrs A.E. Pleydell-Bouverie through the Friends of the Tate Gallery 1968
Inventory numberL697
LocationGallery B
Image copyrightOn loan from Tate: Bequeathed by the Hon. Mrs A.E. Pleydell-Bouverie through the Friends of the Tate Gallery 1968, © 2000 Tate
CollectionMain Collection
Paul Cézanne
Alternating strips of light and dark green paint show sunlight playing on the trees late one summer afternoon. The view has been cropped at the top to give the painting an impression of depth, despite its small size.
This avenue of chestnut trees at Cézanne's father's country house was one of the artist's favourite motifs.
The National Gallery has endeavoured to make as many images of the collection as possible available for non-commercial use. However, an image of this painting is not available to download. This may be due to third party copyright restrictions. Slots merchandise.
If you require a license for commercial use of this image, please use the National Gallery Company's Online Picture Library or contact them using the following:
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Email: picture.library@nationalgallery.co.uk
Telephone: +44 (0)20 7747 5994
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 A old women, her gaze unfocused, clutches a rosary – a string of beads used in prayer – tightly in her hands. According to the writer Joachim Gasquet, the sitter was a former nun who had escaped from a convent, wandering aimlessly until Cézanne took her on as a servant.Gasquet found this painting.. 
 Cézanne spent several months over the summer of 1888 working in and around Chantilly, some 24 miles north of Paris. This is one of three similar oil paintings of the park surrounding the chateau that he produced during his stay. The symmetry and spatial depth of this view may have appealed to him.. 
 Around 200 of Cézanne's works depict male and female nude bathers, either singly or in groups, in a landscape. This large painting is one of three pictures of female bathers that Cézanne worked on during the final decade of his life. They represent the culmination of his lifelong investigation of.. 
 The wall of angular, jutting rock formations in this painting may represent a quarry, with the cuttings revealing geological strata. While the hillside is somewhere in Cézanne's native Provence, the specific location has not been conclusively identified.Stylistically, the painting relates to scen.. 
 This painting is of a summer landscape in Cézanne's native Provence in the south of France. Like the Impressionists, Cézanne was interested in depicting the landscape primarily using touches of colour. Although this painting shows Cézanne's debt to Impressionism, his method is more controlled. Fo.. 
 Paul Cézanne was about 40 years old when he painted this self portrait in Paris around 1880–1. He was now middle-aged with a family to support, and the intensity of his earlier self portraits has here given way to a more distant and reflective presence. Although relatively small, the portrait has.. 
 The Château Noir was a rambling house situated in extensive grounds near Aix-en-Provence in the south of France. Surrounded by wild vegetation, the run-down, isolated chateau offered Cézanne many subjects, and it became one of his favourite locations. He rented a small room in the house from 1897.. 
 An older man sits, legs crossed and head bowed, absorbed in his reading. This is Cézanne's father, Louis-Auguste. He was probably in his early sixties when his son painted this portrait directly onto an alcove wall in the salon of Jas de Bouffan, the country residence outside Aix-en-Provence that.. 
Casino Jas De Bouffan Telephone Lookup During the 1860s Cézanne divided his time between his family home in Aix-en-Provence and Paris, where this picture was probably painted. It evokes the privation of his Bohemian existence in the capital. Cézanne has rearranged the objects in his studio, and we see them from a high viewpoint, as th.. 