Edouard Vuillard's Oil Paintings
	Edouard Vuillard Museum November 11, 1868-June 21, 1940. French painter.
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Here are all the paintings of Paul Cezanne 07

ID	Painting	Oil Pantings, Sorted from A to Z	Painting Description
11361		The Strangled Woman	1872 1' x 9 3/4''(31 x 25cm)Gift of Max and Rosy Kaganovitch,1973
27746		The Temptaion of St Anthony	mk62 1873-1877 Oil on canvas 47x56cm Paris,Musee d Orsay
27879		The Temptation of St.Anthony	mk62 c.1870 Oil on canvas 54x73cm
10810		Three Bathers	1875 - 1877. 8 3/4" x 7 1/2" ( 22x19 cm).
21097		Three Bathers (mk06)	ca 1875-1877 8 3/4'' x 7 1/2''(22 x 19 cm)RF 1982-40
24767		Three Bathers (mk35)	1879-1882 Trois baigneuses Oil on canvas 58 x 54.5 cm
27888		Three Women Bathing	mk62 c.1879-82 Oil on canvas 50x50cm Petir Palais Pairs
60959		to prepare the banquet	mk273 1891 Oil on canvas 45.7 x 55.3 cm
60924		to wear red clothes Mrs Cezanne	mk273 1888 Oil on canvas 89 x 70 cm
61016		tree	mk273 1902-1904 Oil on canvas 79.1 x 63.5 cm
60810		trees and Basin	mk273 1868-1870 Oil on canvas 38.1 x 46 cm
27748		Trees in the Jas de Bouffan	mk62 Oil on canvas 54x73cm
27864		Trois baigneuses	mk62 1879-1882 Huile sur toile 52x55cm Paris,musee du Petit Palais
61053		tuinman	mk273 jaar 1904 Olieverf op doek 65,4 x 54,9 cm
89180		Turning Road at Montgeroult	1898(1898) Medium oil on canvas Dimensions Height: 81.3 cm (32 in). Width: 65.7 cm (25.9 in). cjr
90256		Ufer der Oise	1888(1888) Medium oil on canvas Dimensions 49 x 60 cm cjr
27807		Une moderne Olympia	mk62 1870 Huile sur toile 56x55cm
27815		Une moderne Olympia	mk62 vers 1873 Huile sur toile 46x55.5cm Paris,musee d Orsay
48701		Unknown work	mk191 1873 Oil on canvas 55x66cm
60846		valley	mk273 1881 Oil on canvas 72 x 91 cm
61036		van het huis op een heuvel	mk273 jaar 1904 Olieverf op doek 65,7 x 81 cm
27833		Vase a fleurs et pommes	mk62 1889-1890 Huile sur toile 55x47cm
364		Vessels, Basket and Fruit	1888-90 Musee d'Orsay, Paris
60849		viaduct	mk273 1882 Oil on canvas 46.5 x 55.6 cm
93736		Viadukt	1887(1887) Medium oil on canvas Dimensions 91 x 71 cm cjr
60832		Victor	mk273 1877 Oil on canvas 45.7 x 38.1 cm
87621		Victor Chocquet Seated	c. 1877 Medium Oil on canvas Dimensions Deutsch: 46 x 38 cm cjr
60998		Victor S. Hill 5	mk273 1897 Oil on canvas 78 x 99 cm
60881		Victor St Hill	mk273 1885 Oil on canvas 62 x 92 cm
61024		Victor St. Hill	mk273 1902-1904 Oil on canvas 54 x 73 cm
61028		Victor St. Hill	mk273 1904-1906 Oil on canvas 60 x 73 cm
61029		Victor St. Hill	mk273 1904-1906 Oil on canvas 60 x 72 cm
60999		Victor St. Hill 6	mk273 1897 Oil on canvas 78 x 99 cm
56974		Vidocq Hill St	mk250 In the year 1902-1904. Oil on canvas, 69.9 x 89.5 cm. Philadelphia Museum of Art
27739		View of Auvers-sur-Oise-The Fence	mk62 1873 Oil on canvas 44.5x34.5cm
27772		View of Chateau Noir	mk62 1894-1896 Oil on canvas 73x92cm Washingto D.C.National Gallery of Art,Gift of Eugene and Agnes Meyer
24858		View of Chateau Noir (mk35)	1894-1896 Vue du Chateau noir Oil on canvas 81 x 65 cm Private collection
60813		Village de sac	mk273 1872-1874 Oil on canvas 46 x 55 cm
60823		village panorama	mk273 1876 Oil on canvas 65.2 x 81.3 cm
11463		Village Road	Auvers,ca 1872-1873 1' 6'' x 1' 9 3/4''(46 x 55.5 cm)Gift of Max and Rosy Kaganovitch,1973
72947		Village Road Near Auvers	"Village Road Near Auvers (Le Chemin du Village)," by the French painter Paul CXzanne. Oil on canvas. 15 in. x 18 1/2 in. Yale University Art Gallery, bequest of Kate L. Brewster (Mrs. Kate Lancaster). Courtesy of Yale University, New Haven, Conn. cjr
60841		village scenery	mk273 1881 Oil on canvas 73 x 92 cm
60919		villages and mountains	mk273 1887 Oil on canvas 66.8 x 92.3 cm
88143		Vorbereitung auf das Begrabnis	1869(1869) Medium Oil on canvas Dimensions Deutsch: 49 x 80 cm cjr
27816		Vue sur I Estaque et le chateau d'lf	mk62 1883-1885 Huile sur toile 71x57.7cm
60799		Wears cotton cap s Dominic Uncle	mk273 1866 Oil on canvas 79.7 x 64.1 cm
61041		weg te gaan	mk273 jaar 1904 Olieverf op doek 65 x 81cm
60840		were five men and Bath	mk273 1880 Oil on canvas 34.6 x 38.1 cm
61003		were five men and Bath	mk273 1990 Oil on canvas 42.2 x 55 cm
60985		were seven men and Bath	mk273 1896 Oil on canvas 37.5 x 45.5 cm
27725		Winter	mk62 c.1860-1862 Oil on canvas 314x104cm Venturi7 Paris,Musee de la ville de Paris Petit Palais
29355		Woman in Blue	mk65 ca.1899 Oil on canvas 35x28"
61012		woman was wearing blue clothes	mk273 1901 Oil on canvas 88.5 x 72 cm
27911		Woman with a Coffee Pot	mk62 c.1890-4 Oil on canvas 130x97cm Musee d'Orsay Paris
11475		Woman with Coffee Pot	ca 1890-1895 4' 3 1/2'' x 3' 2''(130.5 x 96.5 cm) Gift of Mr.and Mrs.Jean-Victor Pellerin,1956
33983		Woman with Coffee Pot	mk87 c.1890-1895 Oil on canvas 130.5x96.5cm Paris,Musee d'Orsay
21509		Woman with Coffee Pot (mk09)	c.1890-1895 Oil on canvas,130.5 x 96.5 cm Paris,Musee d'Orsay
86397		Women Bathing	1900 Oil on canvas, 73 x 92 cm Date 1900(1900) cyf
29277		Young Girl at the Piano	mk65 ca.1868/69 Oil on canvas 22 1/2x36'
61039		zwarte kasteel	mk273 jaar 1904 Olieverf op doek 73,6 x 93,2 cm

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Paul Cezanne

French Post-Impressionist Painter, 1839-1906 During the second half of the 19th century French impressionism created a dramatic break with the art of the past. In conception and appearance the style was radically new and, although it initially inspired public ridicule, it soon affected nearly every ambitious artist in western Europe. The new vision emerged during the 1870s, chiefly in the art of Claude Monet, Auguste Renoir, and Camille Pissarro. For each of these artists impressionism was an illusionistic style which differed from the tradition of Renaissance illusionism in its greater emphasis upon vibrant, natural color and on an immediate confrontation with the phenomena of the visible world. As the style developed during the 1880s, however, it increasingly became characterized by paintings which were flat rather than illusionistic. In other words, the impressionists insistence upon a direct application of pigment to canvas resulted in surfaces which declared themselves first of all as surfaces - and, consequently, in paintings which declared themselves first of all as paintings rather than as windows which looked out upon the natural world. The tendency toward flatness persisted into the last years of the 19th century, its pervasiveness giving the impression that illusionistic space - fought for, won, and defended since the very beginning of the Renaissance - had finally been sacrificed by the medium of painting. Paul C??zanne worked within and finally emerged from this trend. As a painter, he matured slowly, his greatest works coming during the last 25 years of his life. During this period he scored a remarkable and heroic achievement: he restored to painting the space and volume that had seemingly been lost to it. But he did it in a totally unprecedented way: not by return to the illusionism of the past but by the creation of a spatial illusionism that did not violate flatness. C??zanne was born on Jan. 19, 1839, in Aix-en-Provence. His father, Philippe Auguste, was the cofounder of a banking firm which prospered throughout the artist life, affording him financial security that was unavailable to most of his contemporaries and eventually resulting in a large inheritance. In 1852 C??zanne entered the Coll??ge Bourbon, where he met and became friends with Émile Zola. This friendship was decisive for both men: with youthful romanticism they envisioned successful careers in the Paris art world, C??zanne as a painter and Zola as a writer. Consequently, C??zanne began to study painting and drawing at the École des Beaux-Arts in Aix in 1856. His father opposed the pursuit of an artistic career, and in 1858 he persuaded C??zanne to enter law school at the University of Aix. Although C??zanne continued his law studies for several years, he was simultaneously enrolled in the School of Design in Aix, where he remained until 1861. In 1861 C??zanne finally convinced his father to allow him to go to Paris. He planned to join Zola there and to enroll in the École des Beaux-Arts. But his application was rejected and, although he had gained inspiration from visits to the Louvre, particularly from the study of Diego Vel??zquez and Caravaggio, C??zanne experienced self-doubt and returned to Aix within the year. He entered his father banking house but continued to study at the School of Design. The remainder of the decade was a period of flux and uncertainty for C??zanne. His attempt to work in his father business was abortive, and he returned to Paris in 1862 and stayed for a year and a half. During this period he met Monet and Pissarro and became acquainted with the revolutionary work of Gustave Courbet and Édouard Manet. C??zanne also admired the fiery romanticism of Eug??ne Delacroix paintings. But he was never entirely comfortable with Parisian life and periodically returned to Aix, where he could work in relative isolation. He retreated there, for instance, during the Franco-Prussian War (1870-1871).

All the Edouard Vuillard's Oil Paintings

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