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This image has been assessed under the valued image criteria and is considered the most valued image on Commons within the scope: Maison devant la Sainte-Victoire près de Gardanne (House in Provence), by Paul Cézanne, Indianapolis Museum of Art.
The work of art itself is in the public domain for the following reason: Public domain Public domain false false This work is in the public domain in its country of origin and other countries and areas where the copyright term is the author's life plus 70 years or fewer .
The work of art itself is in the public domain for the following reason: Public domain Public domain false false This work is in the public domain in its country of origin and other countries and areas where the copyright term is the author's life plus 100 years or fewer .
Paul Cézanne (/ s eɪ ˈ z æ n / say-ZAN, UK also / s ɪ ˈ z æ n / siz-AN, US also / s eɪ ˈ z ɑː n / say-ZAHN; [1] [2] French: [pɔl sezan]; 19 January 1839 – 22 October 1906) was a French Post-Impressionist painter whose work introduced new modes of representation and influenced avant-garde artistic movements of the early 20th century, whose work formed the bridge between late 19th ...
The work of art itself is in the public domain for the following reason: Public domain Public domain false false The author died in 1906, so this work is in the public domain in its country of origin and other countries and areas where the copyright term is the author's life plus 100 years or fewer .
The Paintings, Watercolors and Drawings of Paul Cezanne: An Online Catalogue Raisonné, FWN 81 The paintings of Paul Cézanne: a catalogue raisonné , 202 Cézanne: Son art, son œuvre , 133
House in Provence (French title: Maison devant la Sainte-Victoire près de Gardanne) is an oil painting by French artist Paul Cézanne. Created between 1886 and 1890, [ 1 ] as of 2012 [update] it is part of the permanent collection in the Indianapolis Museum of Art .
Cézanne's style, especially in his landscapes, reflected the influence of his fellow artist, even as the two preferred different techniques—Pissarro dabbing while Cézanne daubed or smeared, according to a local resident who watched them both paint. Cézanne began using brighter colors than he had previously, with less stark contrasts. [5]