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270:'s personal life led to increased anxiety towards women. When he first used the femme fatale in his paintings in 1870, he also began sexual relations with a young, tall model known as Hortense Fiquet. This was probably one of his earliest sexual experiences, whose psychological effects he may have worked through in his paintings. According to one interpretation, Cézanne shows himself in
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Cézanne's painting nonetheless resembles
Courbet's composition in dividing the figures into a left and right group. The men on the right represent the art world, with the figures consisting of a painter, a conductor and entertainers. The men on the left represent a social world, with the figures
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The painting has sometimes been described as the end of the
Romantic and Baroque techniques of Cézanne's early career. The structure and rhythm of the painting are shaped via parallel brush strokes that converge towards the central nude figure, unifying the painting and imposing order.
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Scholars have sometimes seen the painting as a commentary on the political and symbolic role of women. The woman has been compared to the Virgin Mary, a saint, or Venus, evoking other depictions of deified women on an elevated surface. Cézanne may also have drawn on
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A naked, golden-haired woman lies on a bed at the center of the painting. She has attracted an excited crowd, for whom her body is a spectacle. She has a blank face and appears blinded with her eyeballs clotted, and her open pose suggests vulnerability.
239:. The female figure replaces Sardanapalus, while male figures take the place occupied by the victims. In the final version of the Eternal Feminine, the woman can be seen as a kind of ruler, controlling her subjects' attention.
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Scholars regard the composition as distinctive. The canopy and the drapes placed above the woman's head is in the shape of a triangle. This creates a halo effect around the woman. This full body halo, also known as a
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The suggestion of a halo through the canopy over the woman's head has sometimes been seen as an allusion to Saint
Anthony's temptress. Alternatively, the woman has been seen as an allusion to Liberty in Delacroix's
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was one of the first paintings in which Cézanne used these consecutive strokes, which became prevalent in his work in the following years. The technique inspired younger artists like Paul Signac and
Gauguin.
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Art historians have observed that Cézanne struggled to live up to
Delacroix's reputation, and his adoration for his predecessor became almost humiliating. Curators Christopher Riopelle and
182:(1855). In Courbet's work, an artist is depicted painting a landscape before a group. A woman, thought to be the artist's mistress, stands behind him, but he does not look at her. In
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including a financier, soldier, bishop, and banker. A man in the foreground of the painting seems representative of Cézanne himself, with his hat floating off into the air.
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The painting was first purchased by
Ambroise Vollard when it was shown in the Cézanne Exhibition in November 1899. The painting has been in the permanent collection of the
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shows that Cézanne initially arranged the composition in the same structure as
Delacroix's painting. Significantly, however, Cézanne's painting inverts the gender roles of
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Delacroix's painting shows
Sardanapalus in his palace reclining on his bed after ordering his family and animals to be killed. The preparatory drawing for
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The female figure has also been described as an extension of Cézanne's recurring interest in nudity and facelessness.
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The painting may have been inspired by both
Christian and Pagan art representing deified women.
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ideas about the role of women, referring to the depiction of women in popular prints.
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gazing upon the woman but overcoming the temptation of her physical beauty.
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44 cm × 53 cm (17.5 in × 20.7 in)
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The painting has been compared to works done by Eugène
Delacroix,
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490:"A Show About Delacroix's Influence Is Sorely Missing His Work"
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Mont Sainte-Victoire and the Viaduct of the Arc River Valley
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La Montagne Sainte-Victoire vue du bosquet du Château Noir
560:. Paul Cézanne. Berkeley: University of California Press.
618:"The Eternal Feminine (L'Éternel Féminin) (Getty Museum)"
512:"Cézanne's the eternal feminine as the whore of Babylon"
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This article about a nineteenth-century painting is a
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The Death of Sardanapalus done by Delacroix in 1827–28
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Preparatory Drawing for the Eternal Feminine, 1870-75
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341:"The Eternal Feminine — Google Arts & Culture"
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865:Portrait of Madame Cézanne with Loosened Hair
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91:Gustave Courbet, The Painter's Studio, 1855
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407:. Paris: Éditions de la RMN-Grand Palais.
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835:Chestnut Trees and Farm at Jas de Bouffan
804:Chestnut Trees and Farm at Jas de Bouffan
371:. Cambridge University Press. p. 3.
175:Art historians have compared the work to
819:Mont Sainte-Victoire seen from Bellevue
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1270:Paintings in the J. Paul Getty Museum
465:"The J. Paul Getty Museum Collection"
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1203:. You can help Knowledge (XXG) by
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889:Still Life with Peaches and Pears
557:Cézanne : the self-portraits
321:List of paintings by Paul Cézanne
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897:View of the Domaine Saint-Joseph
369:Cezanne and the Eternal Feminine
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977:Pipe Smoker Leaning on a Table
596:. Philadelphia Museum of Art.
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488:McEwan, Olivia (2016-05-04).
969:Portrait of Ambroise Vollard
921:Rideau, Cruchon et Compotier
243:Cézanne's depiction of women
1275:19th-century painting stubs
938:Portrait of Gustave Geffroy
788:Portrait of Louis Guillaume
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696:The Overture to Tannhäuser
592:Cachin, Francoise (1996).
165:Liberty Leading the People
1255:Paintings by Paul Cézanne
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554:Platzman, Steven (2001).
528:10.1080/10848779608579648
209:The Death of Sardanapalus
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510:Andersen, Wayne (1996).
401:Coutagne, Denis (2011).
367:Anderson, Wayne (2005).
16:Painting by Paul Cézanne
930:The Boy in the Red Vest
772:View of Auvers-sur-Oise
704:L'Estaque, Melting Snow
443:(in French). 2013-12-17
104:painting by the French
1047:Still Life with Teapot
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873:The Banks of the Marne
719:The Hanged Man's House
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881:Pierrot and Harlequin
742:L'Après-midi à Naples
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194:Relation to Delacroix
116:or Cézanne himself).
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1091:Mont Sainte-Victoire
1031:The Bunch of Flowers
946:Bridge Across a Pond
905:The Basket of Apples
757:The Eternal Feminine
305:J. Paul Getty Museum
292:The Eternal Feminine
272:The Eternal Feminine
257:The Eternal Feminine
233:The Eternal Feminine
204:The Eternal Feminine
184:The Eternal Feminine
180:The Painter's Studio
97:The Eternal Feminine
76:J. Paul Getty Museum
22:The Eternal Feminine
1172:Corbarimys cezannei
516:The European Legacy
492:. Hyperallergic.com
255:. In works such as
202:have proposed that
171:Relation to Courbet
1265:Post-Impressionism
1151:The Impressionists
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106:Post-Impressionist
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1143:Homage to Cézanne
1015:Pyramid of Skulls
827:House in Provence
688:The Negro Scipion
682:List of paintings
414:978-2-7118-5919-1
404:Cézanne and Paris
177:Gustave Courbet's
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1111:(model and wife)
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667:Paul Cézanne
622:. Retrieved
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494:. Retrieved
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472:. Retrieved
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445:. Retrieved
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344:. Retrieved
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311:since 1987.
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277:As he aged,
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253:femme fatale
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110:Paul Cézanne
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40:Paul Cézanne
1162:(2016 film)
1094:(1904–1906)
1086:(1890–1895)
1050:(1902–1906)
1042:(1898–1905)
1039:The Bathers
1034:(1902–1904)
1026:(1902–1904)
1008: 1900
993: 1900
980:(1895–1900)
962: 1892
949:(1895–1898)
933:(1894–1895)
925:(1893–1894)
913: 1893
892:(1888–1890)
884:(1888–1890)
868:(1883–1887)
858: 1887
843: 1886
812: 1884
799:(1882–1885)
791:(1879–1882)
783:(1879–1882)
765: 1877
750: 1876
712: 1871
620:. Getty.edu
309:Los Angeles
266:Changes in
247:Throughout
100:is an 1877
80:Los Angeles
1244:Categories
624:2021-06-22
603:0876331002
496:2021-06-22
474:2022-11-02
447:2022-11-02
378:052183726X
346:2021-06-22
327:References
299:Provenance
64:Dimensions
775:(1879–80)
675:Paintings
423:767535014
1260:Nude art
576:46828972
315:See also
167:(1830).
154:populist
137:mandorla
130:Analysis
72:Location
1135:Related
1119:Museums
594:Cezanne
279:Cézanne
268:Cézanne
249:Cézanne
212:(1827).
108:artist
1102:Family
1075:Series
1058:(1904)
1023:Forest
1018:(1901)
972:(1899)
964:–1896)
941:(1895)
876:(1888)
830:(1885)
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722:(1873)
699:(1869)
691:(1867)
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54:Medium
36:Artist
1201:stub
598:ISBN
572:OCLC
562:ISBN
419:OCLC
409:ISBN
373:ISBN
259:and
49:1877
46:Year
524:doi
307:in
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Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
