The Gulf of Marseille Seen from L'Estaque, Paul Cézanne

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
Towns, Seas
Wikidata depicts
sea, town, tree

Means

No reading yet.

Rights

Credit
H. O. Havemeyer Collection, Bequest of Mrs. H. O. Havemeyer, 1929
Licence
CC0-1.0
Evidence
metmuseum.org collection api v1: isPublicDomain=true on object 435872 (read 2026-08-27)
Record
https://www.metmuseum.org/art/collection/search/435872
The Gulf of Marseille Seen from L'Estaque, Paul Cézanne
The Gulf of Marseille Seen from L'Estaque — Paul Cézanneca. 1885

Also by Paul Cézanne

7
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
Trees and Houses Near the Jas de Bouffan, Paul Cézanne
Trees and Houses Near the Jas de BouffanPaul Cézanne1885–86Metropolitan Museum of Art, New York, NY
Still Life with Apples and a Pot of Primroses, Paul Cézanne
Still Life with Apples and a Pot of PrimrosesPaul Cézanneca. 1890Metropolitan Museum of Art, New York, NY
View of the Domaine Saint-Joseph, Paul Cézanne
View of the Domaine Saint-JosephPaul Cézannelate 1880sMetropolitan Museum of Art, New York, NY
Madame Cézanne (Hortense Fiquet, 1850–1922) in a Red Dress, Paul Cézanne
Madame Cézanne (Hortense Fiquet, 1850–1922) in a Red DressPaul Cézanne1888–90Metropolitan Museum of Art, New York, NY
The Card Players, Paul Cézanne
The Card PlayersPaul Cézanne1890–92Metropolitan Museum of Art, New York, NY
Seated Peasant, Paul Cézanne
Seated PeasantPaul Cézanneca. 1892–96Metropolitan Museum of Art, New York, NY

Within fifty years of ca. 1885

4058
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 Metropolitan Museum of Art, New York, NY

517
Marble female figure, Bastis Master
Marble female figureBastis Master2600–2400 BCEMetropolitan Museum of Art, New York, NY
Relief Fragment with a Ship Under Sail, Unknown
Relief Fragment with a Ship Under SailUnknownca. 2465–2458 BCEMetropolitan Museum of Art, New York, NY
Tomb Chapel of Raemkai: South Wall, Unknown
Tomb Chapel of Raemkai: South WallUnknownca. 2446–2389 BCEMetropolitan Museum of Art, New York, NY
West wall of the chapel of the mastaba Kaemsenu with niches for Iretnub, Kaemsenu and Werdjedptah, Unknown
West wall of the chapel of the mastaba Kaemsenu with niches for Iretnub, Kaemsenu and WerdjedptahUnknownca. 2420–2250 BCEMetropolitan Museum of Art, New York, NY
Design amulet, Cow and Calf on the Back, Device showing Antithetical Falcons Flanking an Ankh Sign over a Crouching Lion, Unknown
Design amulet, Cow and Calf on the Back, Device showing Antithetical Falcons Flanking an Ankh Sign over a Crouching LionUnknownca. 2150–2100 B.C.Metropolitan Museum of Art, New York, NY
Design Amulet, Pyramidal Back with Horizontal Piercing, Device showing Two Falcons Flanking what is meant to be an Ankh Sign, Unknown
Design Amulet, Pyramidal Back with Horizontal Piercing, Device showing Two Falcons Flanking what is meant to be an Ankh SignUnknownca. 2150–2010 B.C.Metropolitan Museum of Art, New York, NY
Design Amulet, Cow Nursing Calf and also a Kneeling Suckling Man Visible on Opposite Side on the Back, Device showing Antithetical Falcons with an Ankh Sign over a Lion, Unknown
Design Amulet, Cow Nursing Calf and also a Kneeling Suckling Man Visible on Opposite Side on the Back, Device showing Antithetical Falcons with an Ankh Sign over a LionUnknownca. 2150–2100 B.C.Metropolitan Museum of Art, New York, NY
Design Amulet, Back in the Form of a Woman Suckling a Child, Device showing Two Lizards Head-to-tail, Unknown
Design Amulet, Back in the Form of a Woman Suckling a Child, Device showing Two Lizards Head-to-tailUnknownca. 2100–2080 B.C.Metropolitan Museum of Art, New York, NY

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 Bay of Marseille, Seen from L'Estaque, Paul Cezanne
The Bay of Marseille, Seen from L'EstaquePaul Cezannec. 1885The Art Institute of Chicago
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
Low Tide at Pourville, near Dieppe, 1882, Claude Monet (French, 1840–1926)
Low Tide at Pourville, near Dieppe, 1882Claude Monet (French, 1840–1926)1882Cleveland 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

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

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