● On view now — Collection Gallery, Room 07, East Wall
Barnes Foundation, Philadelphia · verified July 2026
FROM THE BARNES FOUNDATION’S CATALOG
Beginning around 1877, Cézanne began to experiment with an exaggerated horizontal format for his still-life painting. Almost twice as wide as it is tall, the present canvas comfortably accommodates the expanse of the oblong-shaped plate and the compote of preserves on the side. The curves of the plate, jar, and fruit are counterbalanced by the straight lines of the quatrefoil-patterned wallpaper. The broad brushwork returns to Cézanne's earlier, heavier form of facture. Simple, spare, and small, the painting may allude to the modest reputation of the still-life genre.
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The Village of L'Estaque Seen from the Sea (Le village de l'
River Bend (Coin de rivière)
Auvers, Panoramic View
Two and a Half Apples (Deux pommes et demie)
The Bellevue Plain / The Red Earth (La plaine de Bellevue /
Madame Cézanne (Hortense Fiquet, 1850–1922) in the Conservat
The Fishermen (Fantastic Scene)
Autumn Landscape (Paysage d'automne)
Paul Cezanne — The Plate of Apples
Marsden Hartley — Still Life No. 3
Pierre-Auguste Renoir — Pomegranate and Figs (Grenade et fig
Pierre-Auguste Renoir — Pears (Poires)
Paul Cezanne — The Basket of Apples
Pierre-Auguste Renoir — Apple and Pear (Pomme et poire)
Henri Matisse — Blue Still Life (Nature morte bleue)
Pierre-Auguste Renoir — Oranges and Bananas (Oranges et bana
Marie Laurencin — Still Life with Bowl and Fruit
Pierre-Auguste Renoir — Apples and Lemons on a Cloth (Pommes
Henri Matisse — Still Life with Lemon (Nature morte au citro
Pierre-Auguste Renoir — Bowl, Figs, and Apples (Écuelle, fig