Portrait de Cézanne par Lui-Même. Self Portrait at the Easel. by Paul Cézanne, 1839-1906

Paul Cézanne, 1839-1906
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Portrait de Cézanne par Lui-Même. Self Portrait at the Easel.

Original lithograph in black ink. 1896/97. From the first edition of 50 impressions on japan paper and c.100 on MBM laid paper - this one of the 100 on laid paper. Commissioned by Ambroise Vollard, c.1896, probably for his third un- published Album d'Estampes de la Galerie Vollard, c.1896. Printed at the Atelier Clot. (There was a 2nd later edition in grey ink).
Ref: Cherpin - Cézanne l'Oeuvre Gravé no 8.

Excellent strong impression. On pale cream laid MBM paper. Excellent original unrestored condition; one tiney fleck in the outer right blank margins. Full margins. Sheet: 24 7/8 x 18 3/4ins. Image: 13 7/8 x 11 1/2ins (352x290mm).

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Cézanne worked on only four compositions in lithography - two on the theme of 'The Bathers', this 'Self Portrait', and a version of the 'Déjeuner sur l'Herbe'. All were drawn at the instigation of Ambroise Vollard, Cézanne's dealer. This study of him working at his easel was probably drawn around 1996-97 (the exact date is not known). Certainly no impressions were sold by Vollard until c.1914.

This study shows how Cézanne thought of his compositions above all in terms of structure and space. The form is articulated by a series of bold sweeping accent lines - the shapes in the collar of his coat, the line of the easel, even the features themselves. Schematic shading links theses bold structural elements which define the form in terms of space and plane. It is a characteristically powerful and uncompromising piece of drawing.

Cézanne drew this self portrait in black lithographic chalk and the edition was printed at the studio of Auguste Clot. Vollard had found by this date that it was lithographs in colour which sold best, and to this end an edition was printed in grey ink with the idea of Cézanne creating a hand-coloured maquette from which Clot would make colour stones which would be overprinted on the grey key stone. In reality this maquette was never made, and the edition in black was eventually issued as a monochrome print. Impressions from the grey edition are to be found, but they totally lack the combination of structure and modelling which gives the image in black, as here, its visual powerful impact.