Paul Cezanne / Still Life with Carafe, Milk Can, Coffee Bowl and Orange / 1879-82Paul Cezanne
Still Life with Carafe, Milk Can, Coffee Bowl and Orange

View Larger Image

View Full Catalog Record Below

This image is one of over 108,000 from the AMICA Library (formerly The Art Museum Image Consortium Library- The AMICO Library™), a growing online collection of high-quality, digital art images from over 20 museums around the world. offers subscriptions to this collection, the finest art image database available on the internet. EVERY image has full curatorial text and can be studied in depth by zooming into the smallest details from within the Image Workspace.
Preview the AMICA Library™ Public Collection in Luna Browser Now

  • Cultures and time periods represented range from contemporary art, to ancient Greek, Roman, and Egyptian works.
  • Types of works include paintings, drawings, watercolors, sculptures, costumes, jewelry, furniture, prints, photographs, textiles, decorative art, books and manuscripts.

Gain access to this incredible resource through either a monthly or a yearly subscription and search the entire collection from your desktop, compare multiple images side by side and zoom into the minute details of the images. Visit for more information on the collection, click on the link below the revolving thumbnail to the right, or email us at .

Creator Name: Cezanne, Paul
Creator Dates/Places: French, 1839 - 1906
Creator Name-CRT: Paul Cezanne
Title: Still Life with Carafe, Milk Can, Coffee Bowl and Orange
View: Full View
Creation Start Date: 1879
Creation End Date: 1882
Creation Date: 1879-82
Object Type: Paintings
Materials and Techniques: oil on canvas
Dimensions: Overall: 10 1/2 x 13 3/4 x 3 in. (26.67 x 34.92 x 7.62 cm.) Framed dimensions: 21 1/4 x 23 3/4 in. (53.97 x 60.33 cm.)
AMICA Contributor: Dallas Museum of Art
Owner Location: Dallas, Texas, USA
ID Number: 1985.R.10
Credit Line: Dallas Museum of Art, The Wendy and Emery Reves Collection
Context: There is no pictorial connoisseur of Paris streets more delicate and humorous than Pierre Bonnard. In the early 1890s, Bonnard began a series of small paintings (exhibited at Durand-Ruel's gallery in 1897) in which he transcribed human - and canine - "moments" that he observed in Paris. For Bonnard, the accidental encounter between a tiny schoolboy lugging his satchel and an old woman wither hands buried in a fur muff caused such intense delight that he transcribed it - either from memory or through the medium of a pencil sketch - onto this small panel. Bonnard analyzes every subtle aspect of the encounter as he contrasts the monolithic shape of the woman with the boy's cantilevered coat, supported by toothpick legs stuffed into oversized boots. The river of creamy-beige paint that runs between them allows their contours to interlock without touching, and Bonnard compares this meeting to the public confrontation of two poodles (a male and a female, no doubt). To whom, we ask, do these dogs belong? Surely one is the beloved property of the old woman, while the other must have escaped from the bourgeois couple directly behind her. Soon, we know, this encounter of dogs will provoke an unplanned - and utterly urban - encounter of humans, which will occur after the little boy disappears from the field of vision.This delightful narrative is given an ominous twist by the juxtaposition of these figures with the two couples in the foreground. We are initially tantalized by the middle-ground figures and dismiss the two bourgeois men, whose backs fill nearly half of the panel, as simply "repoussoir" figures, or the compositional devices to draw us into the picture. Yet, when we look more carefully, we see that these two men stand before a pair of "painted" women, whose faces indicate that their bodies are for sale. Thus, the transaction on the left of Bonnard's picture is dominated by darkness, while the freer, more natural, and seemingly innocent interactions on the right occur in the full light of day.This brilliantly conceived social cityscape is among the tiny masterpieces of Bonnard's Nabi years, and its quality was recognized by the single greatest collector of Nabi art, the Polish émigré writer and entrepreneur Thadée Natanson, editor of "La Revue blanche." When Natanson sold most of his possessions in 1908, this panel was snapped up by the important dealer and critic Félix Fénéon. Few small panels by Bonnard have had a more distinguished provenance."Impressionist Paintings Drawings and Sculpture from the Wendy and Emery Reves Collection," page 111
AMICA ID: DMA_.1985.R.10
AMICA Library Year: 2003
Media Metadata Rights:

AMICA PUBLIC RIGHTS: a) Access to the materials is granted for personal and non-commercial use. b) A full educational license for non-commercial use is available from Cartography Associates at c) Licensed users may continue their examination of additional materials provided by Cartography Associates, and d) commercial rights are available from the rights holder.

Home | Subscribe | Preview | Benefits | About | Help | Contact
Copyright © 2007 Cartography Associates.
All rights reserved.