Man with a Pipe
Framed: 26 3/4 x 23 1/2 x 2 7/8 inches (67.95 x 59.69 x 7.3 cm)
- 127
Hommage à Cézanne , Musée National de l’Orangerie des Tuileries, Paris, July 2-October 17, 1954, no. 58, as L’Homme à la pipe.
Manet to Matisse: Impressionist Masters from the Marion and Henry Bloch Collection , The Nelson-Atkins Museum of Art, Kansas City, MO, June 9-September 9, 2007, no. 24, as Man with a Pipe (L’homme à la pipe).
Cézanne’s Card Players , The Courtauld Gallery, London, October 21, 2010-January 16, 2011; The Metropolitan Museum of Art, New York, February 9-May 8, 2011, no. 3, as Man with a Pipe.
“I love above all else the appearance of people who have grown old without breaking with old customs.” —Paul Cézanne
Man with a Pipe is one of a group of studies related to The Card Players, one of Paul Cézanne’s most important pictorial projects. The local workers reminded Cézanne of the qualities he admired in another of his favorite subjects, Mont Sainte-Victoire—steadfast, unchanging, and monumental.
Paul Cezanne (1839-1906), Aix-en-Provence, 1890/92-no later than December 1899;
Purchased from Cezanne by Ambroise Vollard, Paris, stock book A, no. 3526, as Étude d’homme debout fumant sa pipe, and stock book B, no. 4215, as Homme fumant une pipe, by December 1899-September 21, 1905 [1];
Purchased from Vollard by the Galerie Bernheim-Jeune, Paris, no. 15116, as Le petit fumeur, 1905-March 8, 1907 [2];
Purchased from the Galerie Bernheim-Jeune by Louis Bernard (1886-1916), probably France, 1907-September 17, 1916 [3];
Bernard’s estate, September 17-29, 1916;
Purchased from Bernard’s estate by the Galerie Bernheim-Jeune, Paris, no. 20632, as Le fumeur, September 29-October 7, 1916 [4];
Purchased from the Galerie Bernheim-Jeune by the Galerie Georges Bernheim, Paris, October 7, 1916-no later than 1917;
Bought back from the Galerie Georges Bernheim by the Galerie Bernheim-Jeune, Paris, by December 31, 1917;
Transferred from the Galerie Bernheim-Jeune, Paris, to the Galerie Bernheim-Jeune, Lausanne, December 31, 1917 [5];
Probably purchased from the Galerie Bernheim-Jeune, Lausanne, by Auguste Pellerin (1852-1929), Paris, by 1923-October 18, 1929 [6];
By descent to his daughter, Juliette Lecomte (née Pellerin, 1893-1987), Paris, 1929-March 20, 1987 [7];
By descent to Lecomte’s heirs, Paris, 1987-November 30, 1992;
Purchased from the latter at Impressionist and Modern Paintings and Watercolours: Including Seven Cézanne Paintings from the Auguste Pellerin Collection , Christie’s, London, November 30, 1992, lot 16, as L’Homme à la Pipe, by Marion (née Helzberg, 1931-2013) and Henry (1922-2019) Bloch, Shawnee Mission, KS, 1992-June 15, 2015;
Given by Henry and Marion Bloch to The Nelson-Atkins Museum of Art, Kansas City, MO, 2015.
NOTES:
[1] A Vollard label preserved on the stretcher says “4215.” Few of the entries in Vollard stock book A are dated, but three entries preceding no. 3526 (that is, nos. 3310, 3505, and 3506) bear dates ranging from July to October 1899. Following no. 3526, the first dates to appear in the stock book are December 1899 and February 1900 (for nos. 3551 and 3553, respectively). Thus, Man with a Pipe was likely purchased between October and December of 1899. See e-mail from Jayne Warman, independent art historian, to Brigid M. Boyle, NAMA, June 4, 2015, NAMA curatorial files.
For the sale date of September 21, 1905 to the Galerie Bernheim-Jeune, see letter from Guy-Patrice Dauberville, Galerie Bernheim-Jeune, to Caitlin Robinson, NAMA, July 21, 2004, NAMA curatorial files.
[2] A Galerie Bernheim-Jeune label preserved on the backing board reads: “Nº 15116 / Cézanne / Portrait d’ouvrier.” A second Bernheim-Jeune label, also preserved on the backing board, reads: “Nº 15116 / Cézanne / Petit fumeur.” The same stock number appears as a handwritten inscription on the stretcher.
For the sale date of March 8, 1907 to Louis Bernard, see letter from Guy-Patrice Dauberville, Galerie Bernheim-Jeune, to Caitlin Robinson, NAMA, July 21, 2004, NAMA curatorial files.
[3] Bernard passed away on September 17, 1916.
[4] A Galerie Bernheim-Jeune label preserved on the backing board reads: “Nº 20632 / Cézanne / Le Fumeur.” The same stock number appears as a handwritten inscription on the stretcher. For the purchase date of September 29, 1916, see letter from Guy-Patrice Dauberville, Galerie Bernheim-Jeune, to Caitlin Robinson, NAMA, July 21, 2004, NAMA curatorial files. For the sale date of October 7, 1916 to the Galerie Georges Bernheim, see e-mails from Jayne Warman, independent art historian, to Brigid M. Boyle, NAMA, June 4, 2015 and August 21, 2020, NAMA curatorial files.
[5] For the transfer date of December 31, 1917, see letter from Guy-Patrice Dauberville, Galerie Bernheim-Jeune, to Caitlin Robinson, NAMA, July 21, 2004, NAMA curatorial files. According to Jayne Warman, the Galerie Bernheim-Jeune, Paris, transferred many paintings to its Lausanne branch during World War I. See e-mail from Jayne Warman, independent art historian, to Brigid M. Boyle, NAMA, June 4, 2015, NAMA curatorial files.
[6] The first publication to cite Pellerin as the owner is Georges Rivière, Le maître Paul Cézanne (Paris: H. Floury, 1923), 217. Inscriptions preserved on the canvas and stretcher say “Escalier” (staircase). Auguste Pellerin hung the painting in a stairwell in his mansion; see e-mail from Jayne Warman, independent art historian, to Brigid M. Boyle, NAMA, June 2, 2015, NAMA curatorial files. Pellerin passed away on October 18, 1929.
[7] Pellerin bequeathed his collection of ninety-two paintings to his children. His son, Jean-Victor Pellerin, received forty-five, and his daughter, Juliette Lecomte (née Pellerin), received forty-seven. See Françoise Cachin et al., Cézanne, exh. cat. (Paris: Éditions de la Réunion des musées nationaux, 1995), 573. Lecomte passed away on March 20, 1987.
“Lettres de Cézanne,” L’Esprit Nouveau, no. 2 (1920): 135, (repro.), as Fumeurs.
H[ans] v[on] Wedderkop, “Paul Cézanne,” Der Cicerone 14, no. 16 (August 24, 1922): xi, 690, (repro.), as Mann mit Pfeife.
H[ans] von Wedderkop, Paul Cézanne (Leipzig: Verlag von Klinkhardt und Biermann, 1922), (repro.), as Mann mit Pfeife.
Georges Rivière, Le maître Paul Cézanne (Paris: H. Floury, 1923), 217, as L’Homme à la pipe.
Maurice Raynal, Cézanne (Paris: Éditions de Cluny, 1936), 54, 145, (repro.), as L’Homme à la pipe.
Lionello Venturi, Cézanne: Son art, son œuvre (Paris: Paul Rosenberg, 1936), no. 563, pp. 1:186-87, 403; 2:(repro.), as L’Homme à la pipe.
John Rewald, “À 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): 54.
Bernard Dorival, Cézanne (Paris: Éditions Pierre Tisné, 1948), 62, as Homme à la pipe.
Liliane Guerry, Cézanne et l’expression de l’espace (Paris: Flammarion, 1950), 104, 196n61, as l’Homme à la pipe.
Robert Rey, “Cézanne,” La Revue des arts 4 no. 2 (June 1954): 76, (repro.), as L’Homme à la pipe.
Hommage à Cézanne , exh. cat. (Paris: Éditions des Musées Nationaux, 1954), 23, as L’Homme à la pipe.
Frank Elgar, “Les Arts: Hommage à Cézanne,” Carrefour, no. 512 (July 7, 1954): 8, as L’Homme à la pipe.
Douglas Cooper, “Two Cézanne Exhibitions: II,” Burlington Magazine 96, no. 621 (December 1954): 380, as L’Homme à la Pipe.
Kurt Badt, The Art of Cézanne, trans. Sheila Ann Ogilvie (1956; Berkeley: University of California Press, 1965), 89, 119, 122, 129n30.
Alfred Neumeyer, Cézanne: Drawings (New York: Thomas Yoseloff, 1958), 47-48.
Adrien Chappuis, Les dessins de Paul Cézanne au Cabinet des Estampes du Musée des Beaux-Arts de Bâle (Olten: Éditions Urs Graf, 1962), 95.
Possibly Richard W. Murphy, The World of Cézanne: 1839-1906 (New York: Time-Life Books, 1968), 119, as Man Smoking a Pipe.
Wayne Andersen, Cézanne’s Portrait Drawings (Cambridge: MIT Press, 1970), 37, 43n2, 230.
Sandra Orienti, L’opera completa di Cézanne (Milan: Rizzoli, 1970), no. 631, pp. 112, 114-15, 125, 127, (repro.), as Uomo con pipa a braccia conserte.
Sandra Orienti, The Complete Paintings of Cézanne (London: Weidenfeld and Nicolson, 1972), no. 631, pp. 112, 114-15, 125-26, (repro.), as Man with a Pipe and Folded Arms.
Sandra Orienti, Tout l’œuvre peint de Cézanne (Paris: Flammarion, 1975), no. 631, pp. 112, 115, 125-26, (repro.), as L’Homme à la pipe.
William Rubin, ed., Cézanne: The Late Work, exh. cat. (New York: Museum of Modern Art, 1977), 21.
Theodore Reff, “Cézanne’s ‘Cardplayers’ and their Sources,” Arts Magazine 55, no. 3 (November 1980): 104, 116n4.
Lionello Venturi, Cézanne: Son art, son oeuvre (San Francisco: Alan Wofsy Fine Arts, 1989), no. 563, pp. 1:186-87, 403; 2:(repro.), as L’homme à la pipe.
Mary Louise Krumrine, Cézanne: The Bathers, exh. cat. (Basel: Museum of Fine Arts, 1990), 260n31, as L’Homme à la pipe.
John Shaw, “Auction houses get Impressionist sales off to fine art,”Times (London), no. 64,445 (September 23, 1992): 16, (repro.), as L’homme à la pipe.
Carol Vogel, “The Art Market,” New York Times 142, no. 49,100 (September 25, 1992): C27, as Man With a Pipe.
Impressionist and Modern Paintings and Watercolours: Including Seven Cézanne Paintings from the Auguste Pellerin Collection (London: Christie, Manson and Woods, 1992), 42-43, (repro.), as L’Homme à la Pipe.
James Roundell, The Auguste Pellerin Collection ([London: Christie, Manson and Woods], 1992), 10, (repro.), as L’Homme à la Pipe.
Seven Cézanne Paintings from the Auguste Pellerin Collection (London: Christie, Manson and Woods, 1992), 46-49, (repro.), as L’Homme à la Pipe.
Georgina Adam, “Buyers crowd £10.78m sale of Cezannes,”Daily Telegraph (London) (December 1, 1992): (repro.), as L’Homme à la Pipe.
Dayla Alberge, “Dealers seize on chance to buy rare works by Cézanne,”Independent (London), no. 1911 (December 1, 1992): 2, (repro.), as The Man Smoking a Pipe.
“Paintings fetch £11m,” Guardian (London and Manchester) (December 1, 1992): 3.
“Cezanne Works Sell for Less Than Expected at Auction,”Wall Street Journal (Europe) (December 2, 1992): 9, as Homme a [sic] la Pipe.
Susan Moore, “Pellerin Cézannes sell well,” Financial Times (London), no. 31,529 (December 2, 1992): 12, as L’Homme à la Pipe.
Carol Vogel, “The Art Market,” New York Times 142, no. 49,170 (December 4, 1992): C6, (repro.), as Man With a Pipe.
Souren Melikian, “A Cautious Revival in Impressionist Market,” International Herald Tribune (December 5-6, 1992): 7, (repro.).
Souren Melikian, “A Born-Again Art Market,” Art and Auction (February 1993): 54, (repro.), as L’homme à la pipe.
Antony Thorncroft, “Report from London: Two Steps Forward,” Art and Auction (February 1993): 66, as L’homme à la pipe .
“Art Notes,” Kansas City Star 113, no. 171 (March 7, 1993): K-8, as Man With a Pipe.
“Gemälde und Zeichnungen,” Kunstpreis Jahrbuch 48, no. 1 (1993): 378, (repro.), as Mann mit Pfeife.
Cézanne: Gemälde; Meisterwerke aus vier Jahrzehnten ([Tübingen, Germany: Kunsthalle Tübingen, 1993]), unpaginated, as Man mitt Pfeife and Homme à la pipe.
Francis Russell, ed., Christie’s Review of the Season (London: Christie, Manson and Woods, 1993), 82-83, (repro.), L’Homme à la Pipe.
Françoise Cachin et al., Cézanne, exh. cat. (1995; New York: Harry N. Abrams, 1996), 341, 345.
John Rewald, The Paintings of Paul Cézanne: A Catalogue Raisonné (New York: Harry N. Abrams, 1996), no. 705, pp. 1:10, 409, 443, 561, 563, 570, 573, 576-79; 2:242, (repro.), as L’Homme à la Pipe.
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), 65n2.
Michel Fraisset, Les vies silencieuses de Cézanne (Aix-en-Provence: Office du Tourisme, 1999), (repro.), as L’homme à la pipe.
Rebecca Dimling Cochran and Bobbie Leigh, “100 Top Collectors who have made a difference,” Art and Antiques 28, no. 3 (March 2006): 90, as The Pipe Smoker.
Bobbie Leigh, “Magnificent Obsession,” Art and Antiques 28, no. 6 (June 2006): 62-63, 65, (repro.), as Man with a Pipe.
“Inaugural Exhibitions Celebrate Kansas City,” Member Magazine (The Nelson-Atkins Museum of Art) (Fall 2006): 3.
Richard R. Brettell and Joachim Pissarro, Manet to Matisse: Impressionist Masters from the Marion and Henry Bloch Collection , exh. cat. (Kansas City, MO: Nelson-Atkins Museum of Art, 2007), 12, 15-16, 128-31, 161, (repro.), as Man with a Pipe (L’homme à la pipe).
Alice Thorson, “First Public Exhibition: Marion and Henry Bloch’s Art Collection,” Kansas City Star (June 3, 2007): E4, as Man With a Pipe.
Steve Paul, “More than meets the eye,” Kansas City Star 127, no. 266 (June 10, 2007): A16, (repro.), as Man With Pipe.
“Lasting Impressions: A Tribute to Marion and Henry Bloch,” Member Magazine (The Nelson-Atkins Museum of Art) (Fall 2007): 11, (repro.).
Steve Paul, “Pretty Pictures: Marion and Henry Bloch’s collection of superb Impressionist masters,” Panache 4, no. 3 (Fall 2007): 20, 22, (repro.), as Man with a Pipe.
Stephanie Buck et al., eds., The Courtauld Cézannes, exh. cat. (London: Courtauld Gallery, 2008), 94.
Carol Vogel, “O! Say, You Can Bid on a Johns,” New York Times 159, no. 54,942 (February 5, 2010): C26.
Nancy Ireson and Barnaby Wright, eds., Cézanne’s Card Players, exh. cat. (London: Courtauld Gallery, 2010), 15, 17, 30n9, 41, 102-04, 135-36, (repro.), as Man with a Pipe.
Possibly Karen Rosenberg, “Workers at Rest: Smoking and Playing Cards,”New York Times 160, no. 55,313, (February 11, 2011): C28, as Man With a Pipe.
Thomas M. Bloch, Many Happy Returns: The Story of Henry Bloch, America’s Tax Man (Hoboken: John Wiley and Sons, 2011), 174, as The Pipe Smoker.
Paul Cézanne: Joueur de cartes; Impressionist and Modern Art Evening Sale (New York: Christie’s, 2012), 6, 20.
Satish Padiyar, ed., Modernist Games: Cézanne and His Card Players (London: Courtauld Institute of Art, 2013), 148n53.
Diane Stafford, “Bloch gift to go for Nelson upgrade,” Kansas City Star 135, no. 203 (April 8, 2015): A8.
“Nelson-Atkins Museum of Art officially accessions Bloch Impressionist
masterpieces,” Artdaily.org (July 25, 2015):
http://artdaily.com/news/80246/Nelson-Atkins-Museum-of-Art-officially-accessions-Bloch-Impressionist-masterpieces
, as Man with a Pipe.
Julie Paulais, “Le Nelson-Atkins Museum of Art reçoit des tableaux impressionnistes en échange de leurs répliques,” Le Journal des arts (July 30, 2015): https://www.lejournaldesarts.fr/patrimoine/le-nelson-atkins-museum-art-recoit-des-tableaux-impressionnistes-en-echange-de-leurs .
Josh Niland, “The Nelson-Atkins Museum of Art Acquires a Renowned Collection of Impressionist and Postimpressionist Art,” architecturaldigest.com (July 31, 2015): https://www.architecturaldigest.com/story/nelson-atkins-museum-accessions-bloch-art-collection , (repro.), as Man with a Pipe.
Nancy Staab, “Van Gogh is a Go!” 435: Kansas City’s Magazine (September 2015): 76, as Man with a Pipe.
“Nelson-Atkins to unveil renovated Bloch Galleries of European Art in winter 2017,” Artdaily.org (July 20, 2016): http://artdaily.com/news/88852/Nelson-Atkins-to-unveil-renovated-Bloch-Galleries-of-European-Art-in-winter-2017- , as Man with a Pipe.
“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 .
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), 106-07, (repro.), as Man with a Pipe.
Kelly Crow, “Museum Rewards Donor with Fake Art to Hang at Home,” Wall Street Journal (January 25, 2017): https://www.wsj.com/articles/museum-rewards-donor-with-fake-art-to-hang-at-home-1485370768 , (repro.), as Man with a Pipe.
David Frese, “Bloch savors paintings in redone galleries,” Kansas City Star (February 25, 2017): 1A.
Albert Hecht, “Henry Bloch’s Masterpieces Collection to Go On Display at Nelson-Atkins Museum,” Jewish Business News (February 26, 2017):
http://jewishbusinessnews.com/2017/02/26/henry-bloch-masterpieces-collection/ .
David Frese, “Inside the Bloch Galleries: An interactive experience,” Kansas City Star 137, no. 169 (March 5, 2017): 1D, 5D, (repro.), as Man With a Pipe.
“Editorial: Thank you, Henry and Marion Bloch,” Kansas City Star (March 7, 2017), http://www.kansascity.com/opinion/editorials/article137040948.html [repr. “Thank you, Henry and Marion Bloch,” Kansas City Star 137, no. 172 (March 8, 2017): 16A].
Hampton Stevens, “(Not Actually) 12 Things To Do During the Big 12 Tournament,” Flatland: KCPT’s Digital Magazine (March 9, 2017):
http://www.flatlandkc.org/arts-culture/sports/not-actually-12-big-12-tournament/ .
Laura Spencer, “The Nelson-Atkins’ Bloch Galleries Feature Old Masterworks and New Technology,” KCUR (March 10, 2017):
http://kcur.org/post/nelson-atkins-bloch-galleries-feature-old-masterworks-and-new-technology#stream/0 , as Man with a Pipe.
Victoria Stapley-Brown, “Nelson-Atkins Museum’s new European art galleries come with a ‘love story,’” Art Newspaper (March 10, 2017):
Harry Bellet, “Don du ciel pour le Musée Nelson-Atkins,” Le Monde (March 13, 2017): http://www.lemonde.fr/arts/article/2017/03/13/don-du-ciel-pour-le-musee-nelson-atkins_5093543_1655012.html .
Menachem Wecker, “Jewish Philanthropist Establishes Kansas City as Cultural Mecca,” Forward (March 14, 2017): http://forward.com/culture/365264/jewish-philanthropist-establishes-kansas-city-as-cultural-mecca/ [repr. in Menachem Wecker, “Kansas City Collection Is A Chip Off the Old Bloch,” Forward (March 17, 2017): 20-22].
Juliet Helmke, “The Bloch Collection Takes up Residence in Kansas City’s Nelson Atkins Museum,” Blouin ArtInfo International (March 15, 2017):
Louise Nicholson, “How Kansas City got its magnificent museum,” Apollo: The International Art Magazine (April 7, 2017): https://www.apollo-magazine.com/how-kansas-city-got-its-magnificent-museum/ , (repro.).
Lilly Wei, “Julián Zugazagoitia: ‘Museums should generate interest and open a door that leads to further learning,’” Studio International (August 21, 2017):
http://studiointernational.com/index.php/julian-zugazagoitia-director-nelson-atkins-museum-of-art-kansas-city-interview , (repro.) as Man with a Pipe.
John Elderfield, Cézanne: Portraits, exh. cat. (London: National Portrait Gallery, 2017), 199, 201, 241, 252, (repro.), as Man with Pipe.
Robert D. Hershey Jr., “Henry Bloch, H&R Block’s cofounder, dies at 96,” Boston Globe (April 23, 2019): https://www.bostonglobe.com/metro/obituaries/2019/04/23/henry-bloch-block-cofounder/Vj42N3pMidFGni38EUajyO/story.html .
Robert D. Hershey Jr., “Henry W. Bloch, Tax-Preparation Pioneer (and Pitchman), Is Dead at 96,” New York Times (April 23, 2019): https://www.nytimes.com/2019/04/23/obituaries/henry-w-bloch-dead.html .
Claire Selvin, “Henry Wollman Bloch, Collector and Prominent Benefactor of Nelson-Atkins Museum of Art, Is Dead at 96,” ArtNews (April 23, 2019): http://www.artnews.com/2019/04/23/henry-bloch-dead-96/ .
Eric Adler and Joyce Smith, “Henry Bloch, co-founder of H&R Block, dies at 96,” Kansas City Star 139, no. 219 (April 24, 2019): 1A.
“Henry Wollman Bloch (1922-2019),” Artforum (April 24, 2019): https://www.artforum.com/news/henry-wollman-bloch-1922-2019-79547 .
Frank Morris, “Henry Bloch, Co-Founder Of H&R Block, Dies At 96,” NPR (April 24, 2019): https://www.npr.org/2019/04/24/716641448/henry-bloch-co-founder-of-h-r-block-dies-at-96 .
Ignacio Villarreal, “Nelson-Atkins mourns loss of Henry Bloch,” ArtDaily.org (April 24, 2019): http://artdaily.com/news/113035/Nelson-Atkins-mourns-loss-of-Henry-Bloch#.XMB76qR7laQ , as Man with a Pipe.
Eric Adler and Joyce Smith, “H&R Block co-founder, philanthropist Bloch dies,” Cass County Democrat Missourian 140, no. 29 (April 26, 2019): 1A.
Eric Adler and Joyce Smith, “KC businessman and philanthropist Henry Bloch dies,” Lee’s Summit Journal 132, no. 79 (April 26, 2019): 1A.
Luke Nozicka, “Family and friends remember Henry Bloch of H&R Block,” Kansas City Star 139, no. 225 (April 30, 2019): 4A [repr. Luke Nozicka, “Family and friends remember Henry Bloch of H&R Block,” Kansas City Star 139, no. 228 (May 3, 2019): 3A].
Denis Coutagne and François Chédeville, eds., Cézanne, Jas de Bouffan: art et histoire (Lyon: Fage, 2019), 83, 221, 231, (repro.), as L’Homme à la pipe.
Walter Feilchenfeldt, Jayne Warman, and David Nash, “L’Homme à la pipe, 1891–92 (FWN 678),” The Paintings, Watercolors and Drawings of Paul Cezanne: An Online Catalogue Raisonné , https://www.cezannecatalogue.com/catalogue/entry.php?id=683 (last updated on August 21, 2020, accessed on October 26, 2020), (repro.), as L’Homme à la pipe.
Nancy Ireson, André Dombrowski, and Sylvie Patry, Cézanne in the Barnes Foundation (Philadelphia: Barnes Foundation, 2021).
Brigid M. Boyle, “Paul Cezanne, Man with a Pipe, 1890–1892,” catalogue entry, and Diana M. Jaskierny, “Paul Cezanne, Man with a Pipe, 1890–1892,” technical entry in French Paintings and Pastels, 1600–1945: The Collections of The Nelson-Atkins Museum of Art , ed. Aimee Marcereau DeGalan (Kansas City: The Nelson-Atkins Museum of Art, 2022), https://doi.org/10.37764/78973.5.708 .
Cezanne au Jas de Bouffan, exh. cat. (Paris: Grand Palais RMN, forthcoming 2025), as Man with a Pipe.
