The Bay of Marseille, Seen from L'Estaque, Paul Cezanne

Seen

Not described yet.

Of

These are claims by the holder and by Wikidata, read 2026-09-04, and join nothing until an editor confirms them.

Holder's headings
Century of Progress, coastal scenes, sea, townscapes, towns, mountain, hills, water, weather/seasons, landscapes, world's fairs, Chicago World's Fairs
Wikidata depicts
L'Estaque

Means

No reading yet.

Rights

Credit
Mr. and Mrs. Martin A. Ryerson Collection. CC0.
Licence
CC0-1.0
Evidence
api.artic.edu artworks api: is_public_domain=true on artwork 16487 (read 2026-08-27)
Record
https://www.artic.edu/artworks/16487
IIIF
manifest
The Bay of Marseille, Seen from L'Estaque, Paul Cezanne
The Bay of Marseille, Seen from L'Estaque — Paul Cezannec. 1885

Also by Paul Cezanne

8
Figure Studies Over an Etching of an Ornamental Vase, Paul Cezanne
Figure Studies Over an Etching of an Ornamental VasePaul Cezanne1870/72The Art Institute of Chicago
The Plate of Apples, Paul Cezanne
The Plate of ApplesPaul Cezannec. 1877The Art Institute of Chicago
Auvers, Panoramic View, Paul Cezanne
Auvers, Panoramic ViewPaul Cezanne1873–75The Art Institute of Chicago
The Vase of Tulips, Paul Cezanne
The Vase of TulipsPaul Cezannec. 1890The Art Institute of Chicago
The Basket of Apples, Paul Cezanne
The Basket of ApplesPaul Cezannec. 1893The Art Institute of Chicago
Madame Cezanne in a Yellow Chair, Paul Cezanne
Madame Cezanne in a Yellow ChairPaul Cezanne1888–90The Art Institute of Chicago
The Bathers, Paul Cezanne
The BathersPaul Cezanne1899-1904The Art Institute of Chicago
The Three Skulls, Paul Cezanne
The Three SkullsPaul Cezanne1902/06The Art Institute of Chicago

Within fifty years of c. 1885

4057
No. 37: Miyanokoshi, from the series "Sixty-nine Stations of the Kisokaido (Kisokaido rokujukyu tsugi no uchi)", Utagawa Hiroshige
No. 37: Miyanokoshi, from the series "Sixty-nine Stations of the Kisokaido (Kisokaido rokujukyu tsugi no uchi)"Utagawa Hiroshigec. 1835/38The Art Institute of Chicago
No. 32: Seba, from the series "Sixty-nine Stations of the Kisokaido (Kisokaido rokujukyu tsugi no uchi)", Utagawa Hiroshige
No. 32: Seba, from the series "Sixty-nine Stations of the Kisokaido (Kisokaido rokujukyu tsugi no uchi)"Utagawa Hiroshigec. 1835/38The Art Institute of Chicago
Ōmori, from the series Famous Places in the Eastern Capital, Utagawa Kuniyoshi (Japanese, 1797–1861)
Ōmori, from the series Famous Places in the Eastern CapitalUtagawa Kuniyoshi (Japanese, 1797–1861)early 1830sCleveland Museum of Art
South Wind, Clear Sky, from Thirty-Six Views of Mount Fuji, Katsushika Hokusai (Japanese, 1760–1849)
South Wind, Clear Sky, from Thirty-Six Views of Mount FujiKatsushika Hokusai (Japanese, 1760–1849)early 1830sCleveland Museum of Art
Trade Card of John Williams, Clothier, Unknown
Trade Card of John Williams, ClothierUnknownca. 1830Cooper Hewitt, Smithsonian Design Museum
Botanical Specimen, William Henry Fox Talbot
Botanical SpecimenWilliam Henry Fox Talbotc. 1835The Art Institute of Chicago
Bandbox, Unknown
BandboxUnknown1830–40Cooper Hewitt, Smithsonian Design Museum
Pieced Quilt (Honeycomb), Unidentified
Pieced Quilt (Honeycomb)Unidentifiedca. 1830Smithsonian American Art Museum

Also at The Art Institute of Chicago

491
Statuette of a Female Figure, Ancient Greek
Statuette of a Female FigureAncient GreekEarly Bronze Age, 2600–2400 BCEThe Art Institute of Chicago
Ring with a Scarab Bezel, Ancient Egyptian
Ring with a Scarab BezelAncient EgyptianSecond Intermediate Period, Dynasty 15 (about 1650–1550 BCE)The Art Institute of Chicago
Fragment of a Stela of Neferhotep, Ancient Egyptian
Fragment of a Stela of NeferhotepAncient EgyptianNew Kingdom, mid-Dynasty 19, about 1240-1195 BCEThe Art Institute of Chicago
Funerary Papyrus of Tayuhenutmut, Ancient Egyptian
Funerary Papyrus of TayuhenutmutAncient EgyptianThird Intermediate Period, probably Dynasty 21 (about 1069-945 BCE)The Art Institute of Chicago
Cauldron, China
CauldronChinaWestern Zhou dynasty (1046–771 BC ), early 9th century BCThe Art Institute of Chicago
Coffin and Mummy of Paankhaenamun, Ancient Egyptian
Coffin and Mummy of PaankhaenamunAncient EgyptianThird Intermediate Period, Dynasty 22, reign of Osorkon I (about 924–889 BCE)The Art Institute of Chicago
Relief Showing the Head of a Winged Genius, Neo-Assyrian
Relief Showing the Head of a Winged GeniusNeo-AssyrianNeo–Assyrian Period, reign of King Ashurnasirpal II (883–859 BCE)The Art Institute of Chicago
Altar, Ancient Greek
AltarAncient GreekGeometric Period (800–600 BCE)The Art Institute of Chicago

Similar picturesFound by visual likeness

3 pictures

Visual resemblances suggested by the model. A match does not establish a shared subject or historical connection.

The Gulf of Marseille Seen from L'Estaque, Paul Cézanne
The Gulf of Marseille Seen from L'EstaquePaul Cézanneca. 1885Metropolitan Museum of Art, New York, NY
0.91
Mont Sainte-Victoire and the Viaduct of the Arc River Valley, Paul Cézanne
Mont Sainte-Victoire and the Viaduct of the Arc River ValleyPaul Cézanne1882–85Metropolitan Museum of Art, New York, NY
0.86
The Pigeon Tower at Bellevue, Paul Cezanne (French, 1839–1906)
The Pigeon Tower at BellevuePaul Cezanne (French, 1839–1906)1890Cleveland Museum of Art
0.84

In the stacks

Not yet checked2

Passages in the library’s own holdings that name this maker. The model ranked them; nobody has checked that the name means this person.

  1. The international studio · John Lane

    In 1902, during the young American’s first visit to Paris, the Impressionists were still at the height of their influence, and it was natural that he should have entered heartily into their methods. Men like Monet and Pissarro, who were absorbed in the inter-relation of light and color, appealed to his imagination and for a time he painted in their manner. And when he, like others among the moderns, saw and accepted the revolutionizing ideas which Cezanne was proclaiming on every canvas, he took with him into the new field
    0.71

  2. Art · Clive Bell

    For a few fortunate years or decades the output of considerable art is great. Suddenly it ceases; or slowly it dwindles: a movement has exhausted itself. How far a movement is made by the fortuitous synchronisation of a number of good artists, and how far the artists are helped to the creation of significant form by the pervasion of some underlying spirit of the age, is a question that can never be decided beyond cavil. But however the credit is to be apportioned--and I suspect it should be divided about
    0.68

Next

Made in the nineteenth century, like The Bay of Marseille, Seen from L'Estaque.

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