Mont Sainte-Victoire Seen from Les Lauves
Framed: 34 1/2 x 40 5/8 x 3 1/4 inches (87.63 x 103.19 x 8.26 cm)
- 127
Five Years of Collecting , The Nelson-Atkins Museum of Art, Kansas City, MO, December 4-11, 1938, no cat.
Landscapes of the European War Theatre , The Nelson-Atkins Museum of Art, Kansas City, MO, January 1-February 15, 1944, no cat.
Paintings by Paul Cézanne , Cincinnati Art Museum, February 5-March 9, 1947, no. 13, as Montagne Sainte-Victoire.
A Loan Exhibition of Cézanne for the Benefit of the New York Infirmary , Wildenstein, New York, March 27-April 26, 1947, no. 67, as La Montagne Sainte-Victoire.
Masterpieces of 19th Century Painting and Sculpture , Seattle Art Museum, March 7-May 6, 1951, no cat.
Cézanne , Museum of Art, Rhode Island School of Design, Providence, RI, September 23-October 20, 1954, no. 20, as Mte. Ste.-Victoire.
Loan Exhibition: Cézanne; Under the Patronage of Mrs. Dwight D. Eisenhower and His Excellency, Monsieur Hervé Alphand, The Ambassador of France to the United States, for the Benefit of The National Organization of Mentally Ill Children , Wildenstein, New York, November 5-December 5, 1959, no. 55, as La Montagne Sainte-Victoire.
Seven Decades, 1895-1965: Crosscurrents in Modern Art , Paul Rosenberg and Co., New York, April 26-May 21, 1966, no. 38, as Mont Sainte Victoire.
Gordian Knot: Design and Content; Biennial Beaux Arts Exhibition , Columbus Gallery of Fine Arts, Ohio, April 7-30, 1967, unnumbered.
Cézanne: The Late Work , The Museum of Modern Art, New York, October 7, 1977-January 3, 1978; Museum of Fine Arts, Houston, January 26-March 19, 1978; Galeries nationales du Grand Palais, Paris, April 20-July 23, 1978, no. 61, as Mont Sainte-Victoire Seen from Les Lauves [Le Mont Sainte-Victoire vu des Lauves] (New York only).
Cézanne , Musée Saint-Georges, Liège, Belgium, March 12-May 9, 1982; Musée Granet, Aix-en-Provence, June 12-August 31, 1982, no. 26, as La Montagne Sainte-Victoire.
Impressionism: Selections from Five American Museums , The Carnegie Museum of Art, Pittsburgh, November 4-December 31, 1989; The Minneapolis Institute of Arts, January 27-March 25, 1990; The Nelson-Atkins Museum of Art, April 21-June 17, 1990; The Saint Louis Art Museum, July 14-September 9, 1990; The Toledo Museum of Art, September 30-November 25, 1990, no. 14, as Mont Sainte-Victoire.
Cézanne Paintings , Kunsthalle Tübingen, Germany, January 16-May 2, 1993, no. 90, asMont Sainte-Victoire Seen from Les Lauves and La montagne Sainte-Victoire vue des Lauves.
Cézanne , Galeries nationales du Grand Palais, Paris, September 26, 1995-January 14, 1996; Tate Gallery, London, February 8-April 28, 1996; Philadelphia Museum of Art, May 26-September 1, 1996, no. 202, as La Montagne Sainte-Victoire vue des Lauves.
Cézanne: Finished, Unfinished , Kunstforum Wien, January 20-April 25, 2000; Kunsthaus Zürich, May 5-July 30, 2000, no. 131, as Mont Sainte-Victoire seen from Les Lauves.
L’Oro e l’Azzurro: I colori del Sud da Cézanne a Bonnard , Casa dei Carraresi, Treviso, Italy, October 10, 2003-March 7, 2004, no. 92, as La montagna Sainte-Victoire.
Inspiring Impressionism: The Impressionists and the Art of the Past , High Museum of Art, Atlanta, October 16, 2007-January 13, 2008; Denver Art Museum, February 23-May 25, 2008; Seattle Art Museum, June 19-September 21, 2008, no. 19, as Mont Sainte-Victoire (Seattle only).
Cézanne and Beyond , Philadelphia Museum of Art, February 26-May 17, 2009, unnumbered, as Mont Sainte-Victoire Seen from Les Lauves.
Although he
began his artistic career in Paris, Paul Cézanne eventually settled in his
native Aix-en-Provence in southern France. There, he depicted the distinctive
scenery of the region, such as the Mont Sainte-Victoire. In 25 paintings, he
explored the unchanging form of this majestic mountain, abandoning traditional
means of representation such as the use of perspective to delineate space. He
chose instead to depict the natural world as simplified geometric shapes
composed of shifting planes of brilliant color. Using small, parallel strokes
and erasing the solidity of the forms, Cézanne merged the foreground, middle
ground, and background into one unified space, paving the way for Cubism.
Paul Cezanne (1839-1906), Aix-en-Provence, 1902/06-October 22, 1906;
Artist’s estate, Aix-en-Provence, 1906-March 11, 1907;
Purchased from the artist’s estate by Ambroise Vollard, Paris, stock book B, no. 4477, on joint account with the Galerie Bernheim-Jeune, Paris, as Paysage. Ste. Victoire à 3 plans, 1907-no later than 1936 [1];
With Ambroise Vollard, Paris, by 1936 [2];
With Montag, by July 1937 [3];
Purchased from Montag by Wildenstein and Company, Inc., New York, stock no. 1424d, July 1937-1938 [4];
Purchased from Wildenstein by The Nelson-Atkins Museum of Art, Kansas City, MO, 1938.
NOTES:
[1] Vollard and the Galerie Bernheim-Jeune jointly purchased ten paintings of Mont Sainte-Victoire from Cezanne’s estate in two batches, one on February 12, 1907 and the other on March 11, 1907; see Rebecca A. Rabinow, ed., Cézanne to Picasso: Ambroise Vollard, Patron of the Avant-Garde, exh. cat. (New York: Metropolitan Museum of Art, 2006), 345. Jayne Warman confirmed that the Nelson-Atkins version was part of the second batch; see e-mail from Jayne Warman, independent art historian, to Brigid M. Boyle, NAMA, April 3, 2020, NAMA curatorial files. A Vollard label preserved on the stretcher says “4477.”
[2] Vollard may have purchased Bernheim-Jeune’s ownership share between 1907 and 1936. According to Lionello Venturi, the painting belonged to the “Collection Ambroise Vollard, Paris” by 1936. See Lionello Venturi, Cézanne: Son art, son œuvre, vol. 1 (Paris: Paul Rosenberg, 1936), 235.
[3] Probably Carl Montag (1880-1956), a dealer in Lausanne, Switzerland.
[4] For the purchase date of July 1937, see letter from Eliot W. Rowlands, Wildenstein and Co., to Meghan Gray, NAMA, May 12, 2011, NAMA curatorial files. A Wildenstein label preserved on the stretcher says “1424d.”
Lionello Venturi, Cézanne: Son art, son œuvre (Paris: Paul Rosenberg, 1936), no. 800, pp. 1:64, 235, 403; 2:(repro.), as La Montagne Sainte-Victoire.
John Rewald, “A propos du catalogue raisonné de l’œuvre de Paul Cézanne et de la chronologie de cette œuvre,” La Renaissance 20, nos. 3-4 (March-April 1937): 55.
“Masterpiece of the Month” and “Wednesday Evening Lectures,” News Flashes (The William Rockhill Nelson Gallery of Art and Atkins Museum of Fine Arts) 4, no. 5 (March 1, 1938): 2-3, as La Montagne Sainte-Victoire.
Paul Gardner, “New Prize in Cezanne Landscape Acquired by the Nelson Gallery: ‘La Montagne Sainte-Victoire’ is Exhibited as the Masterpiece for the Month,” Kansas City Star 58, no. 169 (March 5, 1938): D, as La Montagne Sainte-Victoire.
“Cezanne Landscape Year’s First Purchase at Nelson Art Gallery,” Kansas City Journal-Post 84, no. 165 (March 6, 1938): 8-B, (repro.), as La Montagne Sainte-Victoire.
“Introducing Cezanne,” Kansas City Star 58, no. 171 (March 7, 1938): D, as Montagne Sainte Victoire.
“Nelson Gallery Gets a Cezanne,” New York Times 87, no. 29,262 (March 7, 1938): 14, as Mount Saint Victoire.
Robert J. Goldwater, “Cezanne in America: The Master’s Paintings in American Collections,” Art News 36, no. 26 (March 26, 1938): 151, 156, 158, (repro.), as La Montagne Sainte-Victoire.
“Masterpiece of the Month,” News Flashes (The William Rockhill Nelson Gallery of Art and Atkins Museum of Fine Arts) 4, no. 6 (April 1, 1938): 2, as Landscape.
“Exhibit of Public School Art Shows Better Teaching Methods,”Kansas City Star 58, no. 203 (April 8, 1938): 17, as Montagne Sainte-Victoire.
H. C. H., “Gallery Gift in Debut: Prized Altarpiece is Added to the Permanent Collection,” Kansas City Star 58, no. 205 (April 10, 1938): 14A.
“Museum Directors Have to Play Detective Now and Then,” Kansas City Star 58, no. 210 (April 15, 1938): 14, as Ste. Victoire.
“Gallery Changes,” News Flashes (The William Rockhill Nelson Gallery of Art and Atkins Museum of Fine Arts) 4, no. 7 (May 1, 1938): 3, as Montagne St. Victoire.
“Important Gauguin Goes to Missouri Museum,” Art Digest 13, no. 3 (November 1, 1938): 13, as Mont Ste. Victorie [sic].
“‘Visit Your Gallery Week’ Designated December 4-11,”Kansas City Journal 85, no. 66 (November 27, 1938): 36, as Monte Sainte Victoire.
“Five Years of Collecting,” News Flashes (The William Rockhill Nelson Gallery of Art and Atkins Museum of Fine Arts) 5, no. 2 (December 1, 1938): 1, as Monte Sainte Victoire.
“Footnotes,” Evening State Journal (Lincoln) (December 2, 1938): 8.
Paul Gardner, “Kansas City: Jubilee and an Acquisition,” Art News 37, no. 10 (December 3, 1938): 19, as Mont Ste. Victorie [ sic].
“A Good Start on Art: Paintings of Nelson Gallery Are Described by Advisor,” Kansas City Times 101, no. 299 (December 15, 1938): 6.
H. C. H., “Sale of Hearst’s Collection Heads the Art News for 1938,”Kansas City Star 59, no. 104 (December 30, 1938): 6, as Montagne Sainte-Victoire.
Fritz Novotny, Cézanne und das Ende der wissenschaftlichen Perspektive (Vienna: Anton Schroll, 1938), 11, 204, 209.
“A Boast Comes True: Cézanne’s Insistence on His Merit Borne Out by Time,” Kansas City Star 59, no. 142 (February 6, 1939): D, as Montagne Ste. Victoire.
“Collector’s Progress,” Kansas City Times 103, no. 3 (January 3, 1940): C.
“Museums, Art Associations, Other Organizations,”American Art Annual 35 (1941): 268, as Monte Saint Victoire.
The William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, The William Rockhill Nelson Collection, 2nd ed. (Kansas City, MO: William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, 1941), 41, 54, 168, (repro.), as La Montaigne [ sic] Sainte-Victoire.
“Masterpiece Room,” Gallery News (The William Rockhill Nelson Gallery and Mary Atkins Museum of Fine Arts) vol. 8, no. 6 (March 1942): 4, as Montagne de Sainte Victoire.
“Nelson Gallery Celebrates First Decade,” Art Digest 18, no. 6 (December 15, 1943): 7, (repro.), as La Montagne Sainte-Victoire.
Ethlyne Jackson, “Museum Record: Kansas City’s Tenth Birthday,”Art News 42, no. 15, (December 15-31, 1943): 16, as Montagne Sainte-Victoire.
Erle Loran, Cézanne’s Composition: Analysis of His Form with Diagrams and Photographs of His Motifs , 3rd ed. (1943; Berkeley: University of California Press, 1963), 11, 105.
“Temporary Exhibitions: Landscapes of the European War Theatre,” Gallery News (The William Rockhill Nelson Gallery and Mary Atkins Museum of Fine Arts) vol. 10, no. 5 (January 1944): 2, as Monte Sainte Victoire.
“Loan to Other Museums,” Gallery News (The William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts) 13, no. 7 (April 1947), as Mont St. Victoire.
A Loan Exhibition of Cézanne for the Benefit of the New York Infirmary , exh. cat. (New York: Wildenstein, 1947), 65, 67, (repro.), as La Montagne Sainte-Victoire.
Paintings by Paul Cézanne , exh. cat. (Cincinnati: Cincinnati Art Museum, 1947), (repro.), as Montagne Sainte-Victoire.
The William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, The William Rockhill Nelson Collection, 3rd ed. (Kansas City, MO: William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, 1949), 68-69, (repro), as La Montagne Sainte-Victoire.
Liliane Guerry, Cézanne et l’expression de l’espace (Paris: Flammarion, 1950), 194n47.
Cézanne , exh. cat. ([Providence]: Museum of Art, Rhode Island School of Design, 1954), unpaginated, as Mte. Ste.-Victoire.
Kurt Badt, The Art of Cézanne, trans. Sheila Ann Ogilvie (1956; repr., Berkeley: University of California Press, 1965), 163, 310.
Ross E. Taggart, “Kansas City Art,” Library Journal 82, no. 12 (June 15, 1957): 1596.
Loan Exhibition: Cézanne; Under the Patronage of Mrs. Dwight D. Eisenhower and His Excellency, Monsieur Hervé Alphand, The Ambassador of France to the United States, for the Benefit of The National Organization of Mentally Ill Children , exh. cat. (New York: Wildenstein, 1959), (repro.), as La Montagne Sainte-Victoire.
John Canaday, “Art: 87 Cezanne Works; Benefit Exhibition at Wildenstein’s Will Be Open Until Dec. 5,” New York Times 109, no. 37,174 (November 4, 1959): 70.
Ross E. Taggart, ed., Handbook of the Collections in the William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts , 4th ed. (Kansas City, MO: William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, 1959), 123, 260, (repro.), as La Montagne Sainte-Victoire.
Theodore Reff, “A New Exhibition of Cézanne,” Burlington Magazine 102, no. 684 (March 1960): 114, 117, as Montagne Sainte-Victoire.
Maurice Grosser, “Art,” The Nation 191 (July 9, 1960): 38, asMont Sainte-Victoire [repr., Maurice Grosser,Critic’s Eye (Indianapolis: Bobbs-Merrill, 1962), 180, as Mte. Ste. Victoire].
Robert K. Sanford, “Two Books—Photos and Criticism,” Kansas City Star 82, no. 273 (June 17, 1962): 10E, as Mte. Ste. Victoire.
Henry C. Haskell, “Scanning the Arts,” Kansas City Star 86, no. 65 (November 21, 1965): [1]D.
Peter Selz, Seven Decades, 1895-1965: Crosscurrents in Modern Art, exh. cat. (New York: Public Education Association, 1966), 34, (repro.), as Mont Sainte Victoire.
Mahonri Young, Gordian Knot: Design and Content; Biennial Beaux Arts Exhibition, exh. cat. (Columbus: Anchor Press, 1967), (repro.), as La Montagne Sainte-Victoire.
Sandra Orienti, L’opera completa di Cézanne (Milan: Rizzoli, 1970), no. 762, pp. 120-21, 125, 127-28, (repro.), as Prato e alberi.
Marcel Brion, Paul Cézanne (Milan: Fratelli Fabbri Editori, 1972), 81, (repro.), as La montagna Sainte-Victoire.
Sandra Orienti, The Complete Paintings of Cézanne (London: Weidenfeld and Nicolson, 1972), no. 762, pp. 120-21, 125-26, 128, (repro.), as Meadows and Trees.
Judith Wechsler, The Interpretation of Cézanne (1972; repr., Ann Arbor: UMI Research Press, 1981), 50, as Mt. Saint Victoire.
Lilli Fischel, “Von der Bildform der Französischen Impressionisten,”Jahrbuch der Berliner Museum 15 (1973): 82, (repro.), as Landschaft mit Mont Ste Victoire.
Ross E. Taggart and George L. McKenna, eds., Handbook of the Collections in The William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, Kansas City, Missouri , vol. 1, Art of the Occident, 5th ed. (Kansas City, MO: William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, 1973), 150, 165, 257, (repro.), as La Montagne Sainte-Victoire.
Sandra Orienti, Tout l’œuvre peint de Cézanne (Paris: Flammarion, 1975), no. 762, pp. 120-21, 125-27, (repro.), as La Montagne Sainte-Victoire.
Judith Wechsler, ed., Cézanne in Perspective (Englewood Cliffs,
NJ: Prentice-Hall, 1975), (repro.), as Montagne Saint-Victoire.
A[nna] Barskaya, Paul Cézanne (Leningrad: Aurora Art, 1976), 190, 198, (repro.), as Mont Saint-Victoire.
William Rubin, ed., Cézanne: The Late Work, exh. cat. (New York: Museum of Modern Art, 1977), 27, 67, 95, 205, 313, 405, (repro.), as Mont Sainte-Victoire Seen from Les Lauves [Le Mont Sainte-Victoire vu des Lauves] .
John Russell, “A Mighty Exhibit of Late Cézannes,” New York Times 127, no. 43,744 (October 30, 1977): 105, as Mont Sainte-Victoire.
Robert H. Terte, “The Phenomenal Nelson Gallery,” Antiques World 1, no. 3 (January 1979): 46.
Richard Shone, The Post-Impressionists (London: Octopus Books,
1979), 108, 110, 112, 114, 175, (repro.), asMt Ste Victoire seen from Les Lauves and La Montagne Ste Victoire.
Götz Adriani, Cézanne Watercolors, exh. cat., trans. Russell M. Stockman (1981; repr., New York: Harry N. Abrams, 1983), 278.
Marianne R. Bourges, Itinéraires de Cézanne ([Aix-en-Provence]: Ville d’Aix-en-Provence, 1982), (repro.), as La Montagne Sainte-Victoire.
Cézanne , exh. cat. ([Brussels]: Crédit communal de Belgique, 1982), 104-05, (repro.), as La Montagne Sainte-Victoire.
Cézanne ou la peinture en jeu (Limoges: Criterion, 1982), 18, 96, 103-04, 131, 276, 279, (repro.), as La montagne Sainte Victoire.
Bill Marvel, “How Good is the Nelson?” STAR Magazine, supplement, Kansas City Star 103, no. 186 (April 24, 1983): S26, as Le Montagne St. Victoire.
Anna Barskaya, Paul Cézanne: Paintings from the Museums of the Soviet Union; The Hermitage, Leningrad, The Pushkin Museum of Fine Arts, Moscow , trans. Natalia Johnstone (1983; repr., Leningrad: Aurora Art Publishers, 1985), 148, (repro.), as Mont Sainte-Victoire.
Cézanne au Musée d’Aix , exh. cat. (Aix-en-Provence: Musée Granet, 1984), 55, 101, as La Sainte-Victoire.
Raymond Jean, Cézanne, la vie, l’espace (Paris: Seuil, 1986), 277.
Gene A. Mittler, Art in Focus, 4th ed. (1986; repr., New York: Glencoe McGraw-Hill, 2000), 496, (repro.), as Mont Sainte-Victoire .
John Rewald, Cézanne: A Biography (New York: Harry N. Abrams,
1986), 248, 278, (repro.), as Mont Sainte-Victoire Seen from Les Lauves.
Lorenz Eitner, An Outline of 19th Century European Painting: From David Through Cézanne (New York: Harper and Row, 1987-88), 1:437; 2:xv, 237, (repro.), as Mont Sainte-Victoire.
Ellen R. Goheen, The Collections of the Nelson-Atkins Museum of Art (New York: Harry N. Abrams, 1988), 106-07, (repro.), as Montagne Sainte-Victoire Seen from Les Lauves.
Jean-Jacques Lévêque, La vie et l’œuvre de Paul Cézanne (Courbevoie, France: ACR Édition Internationale, 1988), 208, 238, (repro.), as La Montagne Sainte-Victoire.
Benjamin Martinez and Jacqueline Block, Visual Forces: An Introduction to Design, 2nd ed. (1988; Englewood Cliffs, NJ: Prentice Hall, 1995), 196-97, (repro.), as La Montegne [sic] Sainte-Victoire.
Jacques Teboul, Les Victoires de Cézanne (Paris: Éditions Adam Biro, 1988), 50, 115, (repro.), as La Montagne Sainte-Victoire.
Marc S. Gerstein, Impressionism: Selections from Five American Museums, exh. cat. (New York: Hudson Hills, 1989), 50-51, (repro.), as Mont Sainte-Victoire.
Lionello Venturi, Cézanne: Son art, son œuvre (San Francisco: Alan Wofsy Fine Arts, 1989), no. 800. pp. 1:64, 235, 403; 2:(repro.), as La Montagne Sainte-Victoire.
Scott Cantrell, “Keepers of the Light,” Kansas City Star 110, no. 191 (April 22, 1990): M-1.
Toni Wood, “Expatriate Paintings in Midwest,” Kansas City Star 110, no. 233 (June 3, 1990): G-5, as Mont Sainte-Victoire.
Sainte-Victoire: Cézanne 1990 , exh. cat. (Paris: Éditions de la Réunion des musées nationaux, 1990), 288-89, 353, 355, (repro.), as La Montagne Sainte-Victoire.
Manfred Koch-Hillebrecht, Museen in den USA: Gemälde (Munich: Hirmer Verlag, 1992), 244, as Mont Sainte-Victoire.
Eric de Chassey, “Les quatre leçons de Cézanne,” Beaux Arts, no. 111 (April 1993): 83, (repro.), as la Montagne Sainte-Victoire.
Robert Morris, “Writing with Davidson: Some Afterthoughts after Doing Blind Time IV: Drawing with Davidson,” Critical Inquiry 19, no. 4 (Summer 1993): 626, as Mont Saint Vistoire [sic ] seen from Les Lauves, France.
Alice Thorson, “The Nelson Celebrates its 60th: Museum built its reputation, collection virtually ‘from scratch’,” Kansas City Star 113, no. 304 (July 18, 1993): J4.
Götz Adriani, Cézanne: Paintings, exh. cat., trans. Russell Stockman (1993; repr., Cologne: Dumont Buchverlag, 1995), 39, 124, 260, 262-66, 268, as Mont Sainte-Victoire Seen from Les Lauves and La montagne Sainte-Victoire vue des Lauves.
Richard Verdi, “Cézanne: Tübingen,” Burlington Magazine 135, no. 1081 (April 1993): 296.
Cézanne: Gemälde; Meisterwerke aus vier Jahrzehnten ([Tübingen, Germany: Kunsthalle Tübingen, 1993]), (repro.), asDas Gebirgmassiv Sainte-Victoire, Mont Sainte-Victoire,Das Gebirgmassiv Sainte-Victoire von Les Lauves aus gesehen, and Mount Saint-Victoire as Seen from the Chemin des Lauves.
Bernard Denvir, The Chronicle of Impressionism: An Intimate Diary of the Lives and World of the Great Artists (London: Thames and Hudson, 1993), 279, as Mont Ste-Victoire.
Roger Ward and Patricia J. Fidler, eds., The Nelson-Atkins Museum of Art: A Handbook of the Collection (New York: Hudson Hills Press, in association with Nelson-Atkins Museum of Art, 1993), 214, (repro.), as Mont Sainte-Victoire.
Jed Jackson, Art: A Comparative Study (Dubuque, IA: Kendall/Hunt, 1994), 155-56, (repro.), asMontagne Sainte-Victoire seen from Les Lauvres [sic] andMont Sainte-Victoire (Seen from Les Lauvres [sic] ).
Alain Madeleine-Perdrillat, “Cézanne,” Le Journal des Arts, no. 1 (1995): 3-5, 19, (repro.), as La Montagne Sainte-Victoire Vue des Lauves.
Ulrike Becks-Malorny, Paul Cézanne 1839-1906: Wegbereiter der Moderne (Cologne: Benedikt Taschen Verlag, 1995), 73-74, (repro.), as Die Montagne Sainte-Victoire von Les Lauves aus gesehen.
Françoise Cachin and Joseph J. Rishel, Cézanne, exh. cat. (1995; repr., New York: Harry N. Abrams, 1996), 259, 264, 266, 421, 466, 469, 473-74, 597, 599, (repro.), as Mont Sainte-Victoire Seen from Les Lauves.
Evmarie Schmitt, Cézanne in Provence, trans. John William Gabriel (Munich: Prestel, 1995), 90, 92-93, 116, (repro.), as Mont Sainte-Victoire Seen from Les Lauves.
Wei-kwang Wang, The Art of Chen Te-wang (Taipei, Taiwan: Artist Publishing, 1995), 140, (repro.), as Mont Sainte-Victoire.
Mary Louise Krumrine, “Paris and London: Cézanne,”Burlington Magazine 138, no. 1117 (April 1996): 266, as La Montagne Sainte-Victoire vue des Lauves.
Richard Shone, “London: Cézanne,” Burlington Magazine 138, no. 1118 (May 1996): 342, as Mont Sainte-Victoire.
Lisa N. Peters, A Personal Gathering: Paintings and Sculpture from the Collection of William I. Koch , exh. cat. (Wichita, KS: Wichita Art Museum, 1996), 74, (repro.), as Mont Sainte-Victoire.
John Rewald, The Paintings of Paul Cézanne: A Catalogue Raisonné (New York: Harry N. Abrams, 1996), no. 913, pp. 1: 18, 479, 536, 539-40, 561, 570-74, 577, 579-80; 2: 320, (repro.), as Le Mont Sainte-Victoire Vu des Lauves.
Yves Letournel, “Recherches de facture chez Rimbaud et Cézanne,” Parade sauvage: revue d’études rimbaldiennes, no. 14 (May 1997): 111, 131, as Sainte-Victoire.
Françoise Cachin, Henri Loyrette, and Stéphane Guégan, eds., Cézanne aujourd’hui: Actes du colloque organisé par le musée d’Orsay, 29 et 30 novembre 1995 (Paris: Réunion des musées nationaux, 1997), 101, 121, (repro.), as La Montagne Sainte-Victoire vue des Lauves.
Richard McDaniel, Landscape: A Comprehensive Guide to Drawing and Painting Nature (New York: Watson-Guptill, 1997), 17, (repro.), as Mont Sainte-Victoire.
Robert Morris, “Cézanne’s Mountains,” Critical Inquiry 24, no. 3 (Spring 1998): 823, as Mont Sainte-Victoire Seen from Les Lauves.
Marilyn and Raymond Zolton, Artists in Light: A Biographical Guide to Southern France (Bethlehem, NH: Raymar Associates, 1998), 12.
Boris von Brauchitsch, Das 20. Jahrhundert: Meisterwerke Jahr für Jahr (Cologne: DuMont Buchverlag, 1999), 16-17, (repro.), as Der Berg Sainte-Victoire, von Les Lauves aus gesehen.
John C. Gilmour, “Improvisation in Cézanne’s Late Landscapes,” Journal of Aesthetics and Art Criticism 58, no. 2 (Spring 2000): 199-200, 202, as Mont Sainte-Victoire Seen from Les Lauves.
Felix Baumann et al, eds., Cézanne: Finished, Unfinished, exh. cat. (Ostfildern, Germany: Hatje Cantz, 2000), 56-58, 328, 358-59, 361, 406-07, (repro.), as Mont Sainte-Victoire seen from Les Lauves.
Nils Büttner, Landscape Painting: A History, trans. Russell Stockman (2000; repr., New York: Abbeville Press, 2006), 16-17, 320, 323, 357, 386, 406, (repro.), as Mont Sainte-Victoire Seen from Les Lauves.
Hidemichi Tanaka, “Cézanne and Japonisme,” Artibus et Historiae 22, no. 44 (2001): 219n43.
Michael Doran, ed., Conversations with Cézanne, trans. Julie Lawrence Cochran (Berkeley: University of California Press, 2001), 206-07.
Maria Teresa Benedetti, Cézanne: Il padre dei moderni (Milan: Mazzotta, 2002), 30 74, 74n54, (repro.), as La Sainte-Victoire vista dai Lauves.
Amano Shige, 美術論 [Art Theory], (Osaka: Osaka University of Arts, Department of Distance Learning, 2002), 134-35, (repro.), as サント・ヴィクトワール山 [ Mont Sainte-Victoire].
Atelier Cézanne, 1902-2002: Le Centenaire ([Aix-en-Provence]: Société Paul Cézanne, [2003]), 61, as Sainte-Victoire.
Marco Goldin, L’Oro e l’Azzurro: I colori del Sud da Cézanne a Bonnard, exh. cat. (Conegliano, Italy: Linea d’ombra Libri, 2003), 277, 357-58, (repro.), as La montagna Sainte-Victoire.
Felix A. Baumann, Walter Feilchenfeldt, and Hubertus Gassner, eds., Cezanne and the Dawn of Modern Art, exh. cat. (Ostfildern-Ruit, Germany: Hatje Cantz, 2004), 130-31, (repro.), as Montagne Sainte-Victoire Seen from Les Lauves.
Contemporary Art / Evening (New York: Sotheby’s, 2004), 116-17, (repro.), as Mont Sainte-Victoire Seen from Les Lauves.
Giuseppe Frangi, Cézanne estremo, 1899-1906: opere, lettere, testimonianze (Bari: Edizioni di Pagina, 2004), 62-63, (repro.), as La montagna Sainte-Victoire vista da Les Lauves.
Michael Humphrey, “Compulsion to Paint,” STAR Magazine, supplement, Kansas City Star 127, no. 91 (December 17, 2006): S30.
Götz Adriani, Paul Cézanne: Leben und Werk (Munich: Verlag C.H. Beck, 2006), 43-48, 72, (repro.), as Das Gebirgsmassiv Sainte-Victoire von Les Lauves aus gesehen.
Jean Arrouye, ed., Cézanne, d’un siècle à l’autre (Marseille: Éditions Parenthèses, 2006), 178.
Philip Conisbee and Denis Coutagne, Cézanne in Provence, exh. cat. (Washington: National Gallery of Art, 2006), 284, 286-87, 342n24, (repro.), as Montagne Sainte-Victoire Seen from Les Lauves.
Denis Coutagne, Cézanne en vérité(s): “Je vous dois la vérité en peinture et je vous la dirai” (Arles: Actes Sud, 2006), 476, 480-84, 487-90, 494-95, 512n179, 588, (repro.), as Montagne Sainte-Victoire vue des Lauves.
Rebecca A. Rabinow, ed., Cézanne to Picasso: Ambroise Vollard, Patron of the Avant-Garde, exh. cat. (New York: Metropolitan Museum of Art, 2006), 345.
Roberta Bernabei, Cézanne (2007; repr., Munich: Prestel, 2013), 130-31, 155, (repro.), as Mont Sainte-Victoire (Seen from Lauves).
Ann Dumas, ed., Inspiring Impressionism: The Impressionists and the Art of the Past , exh. cat. (New Haven: Yale University Press, 2007), 175, 178, 258, (repro.), as Mont Sainte-Victoire.
Ce que Cézanne donne à penser: Actes du colloque d’Aix-en-Provence, 5, 6 et 7 juillet 2006 (Paris: Éditions Gallimard, 2008), 184.
Pavel Machotka, Cézanne: La sensation à l’œuvre; The eye and the mind (Marseille: Éditions Crès, 2008), 1:(repro.); 2:222, (repro.), as La Montagne Sainte-Victoire Vue des Lauves.
Hans-Günther Van Look, Sehrevolte der Scheinung: Cézanne am Mont Sainte-Victoire (Munich: Karl Alber, 2008), 111, (repro.), as La Montagne Sainte-Victoire.
Joseph J. Rishel and Katherine Sachs, Cézanne and Beyond, exh. cat. (Philadelphia: Philadelphia Museum of Art, 2009), 57, 433, 443-44, 465, 480, 534, (repro.), as Mont Sainte-Victoire Seen from Les Lauves.
Françoise Barbe-Gall, How to Look at Impressionism, trans. Emily Read (2010; repr., London: Francis Lincoln, 2013), 240-46, (repro.), as Mont Sainte-Victoire.
Rudy Chiappini, Cézanne: Les ateliers du Midi, exh. cat. (Milan: Skira, 2011), 54, 54n16.
Denis Coutagne, Cézanne abstraction faite (Paris: Cerf, 2011), 178, 178n194.
Robert Morris: el dibujo como pensamiento , exh. cat. (Valencia: Institut Valenciá d’Art Modern, 2011), 17-18, 28, 55, 64, 271, 297, 300, 308, 311, 326, 333, 337, 345, 348, 350, (repro.), as Mont Sainte-Victoire.
Alex Danchev, Cézanne: A Life (New York: Pantheon Books, 2012), 342, 441n47.
Alice Thorson, “His mythic, intense, cosmic art,” Kansas City Star 135, no. 81 (December 4, 2014): D8.
Impressionist/Modern Evening Sale (London: Christie’s, June 24, 2014), 111.
“Nelson-Atkins Museum of Art celebrates generosity of Henry Bloch with new acquisition,” Artdaily.org (October 18, 2016): https://artdaily.cc/news/90923/Nelson-Atkins-Museum-of-Art-celebrates-generosity-of-Henry-Bloch-with-new-acquisition#.XnKATqhKiUk , as Mont Saint Victoire.
Catherine Futter et al., Bloch Galleries: Highlights from the Collection of the Nelson-Atkins Museum of Art (Kansas City, MO: Nelson-Atkins Museum of Art, 2016), 104, (repro.), as Mont Sainte-Victoire.
Toni Hildebrandt, Entwurf und Entgrenzung: Kontradispositive der Zeichnung 1955-1975 (Paderborn, Germany: Wilhelm Fink, 2017), 132, 167, 169-71, 175, 360, (repro.), as Mont Sainte-Victoire Seen From Les Lauves and La Montagne Sainte-Victoire, von Les Lauves aus gesehen.
Daniel Marchesseau, Paul Cezanne: Le chant de la terre, exh. cat. (Martigny: Fondation Pierre Gianadda, 2017), 220.
Carol Armstrong, Cézanne’s Gravity (New Haven: Yale University Press, 2018), 165, 167, 169, (repro.), as Mont Sainte-Victoire Seen from Les Lauves.
Elisabeth Oy-Marra et al., eds., Intermedialität von Bild und Musik (Paderborn, Germany: Wilhelm Fink, 2018), 343.
Lærde Rydal Jørgensen and Mathias Ussing Seeberg, eds., Marsden Hartley: The Earth is All I Know of Wonder, exh. cat. (Humlebæk, Denmark: Louisiana Museum of Modern Art, 2019), 69-70, (repro.), as Mont Sainte-Victoire.
Walter Feilchenfeldt, Jayne Warman, and David Nash, “La Montagne Sainte-Victoire vue des Lauves, 1902–06 (FWN 353),” The Paintings, Watercolors and Drawings of Paul Cezanne: An Online Catalogue Raisonné , https://www.cezannecatalogue.com/catalogue/entry.php?id=887 (last updated on April 3, 2020, accessed on April 8, 2020).
Impressionist and Modern Art Evening Sale (London: Christie’s, February 5, 2020), 123.
Aimee Marcereau DeGalan, “Paul Cezanne, Mont Sainte-Victoire Seen from Les Lauves, 1904–1905,” catalogue entry and Diana Jaskierny, “Paul Cezanne, Mont Sainte-Victoire Seen from Les Lauves, 1904–1905,” technical entry in French Paintings and Pastels, 1600–1945: The Collections of The Nelson-Atkins Museum of Art, Aimee Marcereau DeGalan, ed., (Kansas City: The Nelson-Atkins Museum of Art, 2022), https://doi.org/10.37764/78973.5.712.
Joachim Pissarro, Beyond the Line: Stefan Gierowski and Sean Scully; From Finite to the Infinite. From Physics to Metaphysics, exh. cat. (Warsaw: Stefan Gierowski Foundation, 2024).
Nylza Offir García Vera, Literatura y memoria colectiva de la guerra: los pliegues en la urdimbre del olvido (Editorial Universidad Pedagógica Nacional, forthcoming 2025).
Julian Zugazagoitia and Laura Spencer. Director's Highlights: The Nelson-Atkins Museum of Art Celebrating 90 Years, ed. Kaitlyn Bunch (The Nelson-Atkins Museum of Art, 2024), 37, (repro.).
