Date ca. 1892–96 Genre portrait Artist's movement Post-impressionism Medium Oil on canvas Terms oil 300015050 canvas 300014078 Dimensions 21 1/2 x 17 3/4 in. (54.6 x 45.1 cm) Collection Metropolitan Museum of Art, New York, NY 1997.60.2 Classifications read from Wikidata, 2026-08-28
Getty ids beside the museum's words, by exact match, 2026-09-09
oil read as oil paint by Abe Garcia, 2026-09-07
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 Men , Portraits Wikidata depicts man , portrait Rights Credit The Walter H. and Leonore Annenberg Collection, Gift of Walter H. and Leonore Annenberg, 1997, Bequest of Walter H. Annenberg, 2002 Licence CC0-1.0 Evidence metmuseum.org collection api v1: isPublicDomain=true on object 437990 (read 2026-08-27) Record https://www.metmuseum.org/art/collection/search/437990 Close Seated Peasant — Paul Cézanne ca. 1892–96
Also by Paul Cézanne 7 The Gulf of Marseille Seen from L'Estaque Paul Cézanneca. 1885 Metropolitan Museum of Art, New York, NY Mont Sainte-Victoire and the Viaduct of the Arc River Valley Paul Cézanne1882–85 Metropolitan Museum of Art, New York, NY Trees and Houses Near the Jas de Bouffan Paul Cézanne1885–86 Metropolitan Museum of Art, New York, NY Still Life with Apples and a Pot of Primroses Paul Cézanneca. 1890 Metropolitan Museum of Art, New York, NY View of the Domaine Saint-Joseph Paul Cézannelate 1880s Metropolitan Museum of Art, New York, NY Madame Cézanne (Hortense Fiquet, 1850–1922) in a Red Dress Paul Cézanne1888–90 Metropolitan Museum of Art, New York, NY The Card Players Paul Cézanne1890–92 Metropolitan Museum of Art, New York, NY
Within fifty years of ca. 1892–96 3805 Shirasuka: Shiomi Slope,no. 33 from the series Fifty-Three Stations of the Tokaido (Tōkaidō gojūsan tsugi) Utagawa Hiroshige1847-52 The Art Institute of Chicago Friendship Quilt Ella Maria Deacon1842 The Art Institute of Chicago Drawing Room Unknown, Englishca. 1842 Cooper Hewitt, Smithsonian Design Museum Sampler Unknown1842 Cooper Hewitt, Smithsonian Design Museum Study of Hands Jean-Auguste-Dominique Ingres (French, 1780–1867)1842 Cleveland Museum of Art The Abandonment of Ariadne Honoré Daumier (French, 1808–1879); Aubert1842 Cleveland Museum of Art A skeleton leaning on a spade. Line engraving by J. Tinney, 1743, after A. Vesalius, 1543. Andreas Vesalius; John Tinney1842 Wellcome Collection An écorché figure seen from the front. Line engraving by J. Tinney, 1743, after A. Vesalius, 1543. Andreas Vesalius; John Tinney1842 Wellcome Collection
Also at Metropolitan Museum of Art, New York, NY 538 Marble female figure Bastis Master2600–2400 BCE Metropolitan Museum of Art, New York, NY Relief Fragment with a Ship Under Sail Unknownca. 2465–2458 BCE Metropolitan Museum of Art, New York, NY Tomb Chapel of Raemkai: South Wall Unknownca. 2446–2389 BCE Metropolitan Museum of Art, New York, NY West wall of the chapel of the mastaba Kaemsenu with niches for Iretnub, Kaemsenu and Werdjedptah Unknownca. 2420–2250 BCE Metropolitan 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 Unknownca. 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 Unknownca. 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 Unknownca. 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 Unknownca. 2100–2080 B.C. Metropolitan Museum of Art, New York, NY In the stacks Not yet checked 2
Passages in the library’s own holdings that name this maker. The model ranked them; nobody has checked that the name means this person.
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 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 Add a connection Propose a reading
Next Made in the nineteenth century, like Seated Peasant.
