This exhibition of Cezanne's paintings in the Kunsthalle Tubingen is the third in aseries. The first, in 197S, presented an extensive selection of the artist's drawings, whilethe second, in 1982, focused attention on his watercolors. This final showing ofninety-seven paintings is larger than any previous Cezanne exhibition, with theexception of the Paris retrospective of 1936. The three Cezanne shows in Tobingen-ofhis drawings, his watercolors, and now his paintings - are the only retrospectives everoriginally mounted in Germany; the one shown in Munich and Cologne in 1956 wastaken over from The Hague and Zurich.
This exhibition of Cezanne"s paintings in the Kunsthalle Tubingen is the third in aseries. The first, in 197S, presented an extensive selection of the artist"s drawings, whilethe second, in 1982, focused attention on his watercolors. This final showing ofninety-seven paintings is larger than any previous Cezanne exhibition, with theexception of the Paris retrospective of 1936. The three Cezanne shows in Tobingen-ofhis drawings, his watercolors, and now his paintings - are the only retrospectives everoriginally mounted in Germany; the one shown in Munich and Cologne in 1956 wastaken over from The Hague and Zurich. This is surprising, in that Germany"s warmreception of Cezanne, thanks to a few courageous museum directors, dealers, andcollectors, began very early. One need only remember that the first museum topurchase a Cezanne painting for its collections was the Nationalgalerie in Berlin. Thatwas in 1S97. Beginning with the turn of the century, the Berlin art dealer Paul Cassirerdevoted himself to the French artist with considerable success, and 1910 saw thepublication in Munich of the first Cezanne monograph, written by Julius Meier-Graefe.
Foreword
Lenders
Gotz Adriani
"A sort of great god of painting"
Catalogue
Selected Bibliography
Exhibitions and Catalogues
Chronology
Walter Feilchenfeldt
The Early Reception of Cezanne"s Work,
with Emphasis on Its History in Germany
Index
Photograph Credits