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Student Artwork Guide

Large Trees at Jas de Bouffan

Name Class Date

Paul Cézanne, Large Trees at Jas de Bouffan (1887). Public domain. See this canvas under a moving light: the drawing, the true colour under the varnish, the bare pigment

The facts

Artist
Paul Cézanne topimpressionists.com/en/artists/paul-cezanne/
Artist’s dates
1839 – 1906
Painted
1887
Medium
Watercolor
Original size
73 x 59 cm
Movement
Post-Impressionism Artists who kept the bright colour of Impressionism but pushed shape and feeling further than the eye really sees.
Period
19th Century
Influences
Romanticism, Realism, Impressionism
Style
Bridging Impressionism and Cubism
Subject
Trees

In context

Large Trees at Jas de Bouffan — Paul Cézanne

How big is it?

The original measures 73 × 59 cm (height × width), drawn here beside an adult of average height.

When was this painted?

  1. 1830
  2. 1840
  3. 1850
  4. 1860
  5. 1870
  6. 1880
  7. 1890
  8. 1900

Row above: the years. Row below: how old the artist was at the start and at the end of each span — 0 at birth, 67 at death.

Painted when the artist was 48. The artist lived to 67. 370 of the 679 dated works by this artist in our catalogue came earlier.

Shaded: the lifetime of Paul Cézanne (1839–1906) ▲ this work, 1887 every dated painting, decade by decade

First works: up to 1875 Main working years: 1875–1894 Late works: from 1894

Those three bands split the works this catalogue has a date for into a first quarter, a middle half and a last quarter. They are not the artist’s complete output: a thin stretch may be a gap in the record rather than a quiet spell. The same years with the artist’s life laid along them

Compare with

Pick one work above: name two things it shares with this one, and one thing that's different.

More works to set beside this one: topimpressionists.com/en/art/similar/paul-cezanne-large-trees-at-jas-de-bouffan-8EWNXP-en/

Colours

Measured from the image

    Main colour

    Putty #c5beb0

    Catalogued palette

    • #C5BEB0
    • #616455
    • #31312D
    • #9A9676

    These colours inside the artist’s whole palette Find other paintings by colour

    Main colour name
    Putty
    Intensity
    Balanced How saturated and varied the colours are, from a single toned-down hue to many bright ones.
    Contrast
    Statement How much the colours differ in lightness and saturation across the picture.
    Harmony
    Discordant Palette How well the colours work together, from clashing to fully unified.
    Brightness
    Bright How light or dark the picture reads overall, from deep shadow to bright highlight.
    Saturation
    Subtle Color How pure and strong the colours are, from near-grey to fully vivid.

    Where in the world is this painting looked at?

    • under 1%
    • 1–3%
    • 3–8%
    • 8–20%
    • 20% and over
    This painting alone has too few recorded visitors to map, so the plate reads every work by Paul Cézanne over the last twelve months — 71 countries in all. Where these figures come from

    The ten leading countries

    1. 1 China 50.7%
    2. 2 United States of America 9.9%
    3. 3 Hong Kong 8.6%
    4. 4 Singapore 7.9%
    5. 5 France 5.2%
    6. 6 Italy 2.6%
    7. 7 Spain 2.5%
    8. 8 Germany 1.4%
    9. 9 Romania 1.3%
    10. 10 Brazil 1.3%
    11. · 61 other countries 8.6%

    Find the three darkest countries on the map. Is the museum that keeps this painting in any of them? Write down one reason people far away might look at it.

    The 20 most looked-at works by Paul Cézanne

    1. 1 The Card Players, 1893 2.1%
    2. 2 The Card Players, 1892 1.8%
    3. 3 Large Bathers (Philadelphia), 1905 1.8%
    4. 4 Basket of Apples, 1895 1.4%
    5. 5 Mont Sainte-Victoire (Courtauld), 1887 1.3%
    6. 6 The bay from l'estaque, 1886 1.1%
    7. 7 Cardplayers, 1893 1.0%
    8. 8 The Lac d'Annecy, 1896 0.9%
    9. 9 Curtain, Jug and Fruit, 1894 0.7%
    10. 10 Landscape with Viaduct - Mont Sainte-Victoire, 1885 0.7%
    11. 11 The Kitchen Table, 1888 0.7%
    12. 12 Mont Sainte-Victoire (Barnes), 1892 0.6%
    13. 13 Chateau Noir, 1904 0.6%
    14. 14 Still life with apples,c.1890, eremitaget 0.6%
    15. 15 View of L'Estaque and Chateaux d'If, 1885 0.6%
    16. 16 The House of Pere Lacroix in Auvers, 1873 0.5%
    17. 17 Mountains in Provence, 1890 0.5%
    18. 18 House of the Hanged Man, Auvers-sur-Oise, 1873 0.5%
    19. 19 The Large Bathers, 1900 0.5%
    20. 227 Large Trees at Jas de Bouffan, 1887 this painting 0.1%

    Together these works take 18.0% of all the attention this artist's paintings received over the last twelve months. The catalogue holds 998 works by this artist, of which 762 were looked at at least once. This painting ranks 227 of them, with 0.1% of that attention. The same counts, month by month

    Bars measure attention, not quality. Pick the work at the top and this one: name one thing that might make a painting famous beyond how well it is painted.

    About this artwork

    Large Trees at Jas de Bouffan — Paul Cézanne

    A Symphony in Blue and Green: Exploring Cézanne’s ‘Large Trees at Jas de Bouffan’

    Paul Cézanne's *Large Trees at Jas de Bouffan*, painted in 1887, is more than just a landscape; it’s a pivotal work marking the transition from Impressionism towards the revolutionary language of modern art. This oil on canvas (73 x 59 cm) invites viewers into the sun-dappled world of Provence, yet simultaneously challenges traditional modes of representation. The painting depicts a dense cluster of trees dominating the composition, set against a vibrant sky – a scene deeply rooted in Cézanne’s lifelong fascination with the landscape surrounding his family estate.

    Deconstructing Nature: Style and Technique

    Cézanne doesn't simply reproduce what he sees; he constructs it. Rejecting the fleeting impressions of light favored by the Impressionists, Cézanne employed a deliberate, analytical approach. He breaks down forms into their geometric components – planes of color rather than descriptive outlines – anticipating the Cubist revolution to come. Notice how the trees aren’t rendered with meticulous detail but are built up from brushstrokes of varying blues and greens. This technique isn't about mimicking nature perfectly; it’s about conveying its underlying structure, its essential solidity. The layering of these colors creates a sense of depth and volume, while also emphasizing the flatness of the canvas – a deliberate tension that defines Cézanne’s style. The brushwork is exploratory, almost hesitant at times, revealing the artist's thought process as he grapples with form and perception.

    From Romantic Roots to Modern Vision: Historical Context

    Cézanne’s artistic journey was one of constant evolution. Initially influenced by the Romanticism and Realism prevalent in 19th-century France, he gradually absorbed the lessons of Impressionism before forging his own unique path. *Large Trees at Jas de Bouffan* exemplifies this transition. While retaining a sense of atmospheric light reminiscent of Monet or Pissarro, Cézanne’s emphasis on structure and form sets him apart. His work was initially met with incomprehension – even ridicule – by critics accustomed to more conventional art. It wasn't until the late 1890s, thanks to champions like Camille Pissarro and Ambroise Vollard, that his genius began to be recognized.

    The Father of Us All: Influence and Legacy

    Cézanne’s impact on modern art is immeasurable. Both Henri Matisse and Pablo Picasso famously declared him “the father of us all,” acknowledging his profound influence on their own groundbreaking work. His exploration of form, space, and color paved the way for Cubism, Fauvism, and countless other avant-garde movements of the 20th century. He liberated artists from the constraints of realistic representation, encouraging them to explore the expressive potential of pure form and color. His legacy continues to resonate today, inspiring generations of artists to challenge conventions and push the boundaries of artistic expression.

    A Moment of Tranquility: Symbolism and Emotional Impact

    Beyond its formal innovations, *Large Trees at Jas de Bouffan* evokes a powerful emotional response. The dense foliage creates a sense of enclosure, offering a refuge from the outside world. The cool blue palette promotes tranquility and contemplation. While seemingly simple in subject matter – trees against a sky – the painting invites us to slow down, observe, and appreciate the beauty of nature. It’s a reminder of the enduring power of art to connect us to something larger than ourselves.

    Bringing Cézanne Home: Collecting & Interior Design

    A reproduction of *Large Trees at Jas de Bouffan* adds a touch of sophisticated serenity to any interior.

    The cool blue and green palette complements modern and contemporary décor, creating a calming focal point.

    Its abstract qualities make it versatile – suitable for living rooms, bedrooms, or even offices.

    Consider pairing it with neutral tones and natural materials to enhance its organic feel.

    Experience the timeless beauty of Cézanne’s masterpiece. High-quality reproductions are available, allowing you to bring a piece of art history into your home or office.

    Artist and museum

    Artist

    Paul Cézanne

    Born in Aix-en-Provence, France

    The Architect of Form

    Paul Cézanne was born in Aix-en-Provence, France, into a family with deep roots in the local banking industry. His father, Louis-Auguste Cézanne, helped found the Banque Cézanne et Cabassol, providing a level of financial stability that many of his contemporaries lacked. This security allowed Paul to move away from the legal studies his father had planned for him. Though he initially studied law at the University of Aix-en-Provence, he abandoned those studies in 1860 to focus entirely on painting. His early years were spent in the company of friends like Émile Zola, and together they shared a childhood of swimming and fishing along the banks of the Arc River.

    The early works of Cézanne often carried the weight of Romanticism, utilizing dark palettes and heavy, expressive brushwork. He was influenced by the dramatic tonal contrasts found in the tradition of Eugène Delacroix. However, his approach began to shift as he moved toward Paris. He sought a way to move beyond the fleeting light captured by the Impressionists. Instead of merely recording a passing moment, he wanted to find the permanent structure within nature. He looked at a mountain or a piece of fruit and saw the underlying geometry—the cones, spheres, and cylinders that form the bones of the world.

    A New Way of Seeing

    Cézanne developed a technique characterized by small, repetitive, and constructive brushstrokes. He layered these patches of color to build up volume and texture, creating a sense of solidity. This method allowed him to explore spatial relationships without relying on traditional single-point perspective. In many of his compositions, objects appear independent within the space, often presented from multiple viewpoints at once. This rejection of classical perspective rules helped create a new pictorial language.

    His subject matter was deeply tied to his surroundings in Provence. The Mont Sainte-Victoire became a recurring presence in his work, appearing in approximately eighty different paintings and watercolors over many years. He also found profound meaning in the simplest objects. His still lifes, featuring items like apples, jars, and cups, were not mere decorations but intense studies of light, shadow, and mass. Through these works, he demonstrated how color modulation could define shape without the need for traditional shading.

    The Bathers (Les Grandes Baigneuses)

    Mont Sainte-Victoire series

    Still Life with Apples and a Pot of Primroses

    Portrait of Émile Zola

    The Card Players

    A Lasting Influence

    By the time of his death in 1906, Cézanne had fundamentally altered the direction of modern painting. His emphasis on geometric form and multiple perspectives provided a foundation for the Cubist movement. Artists such as Pablo Picasso and Georges Braque drew heavily from his analytical approach to nature. His use of bold, non-naturalistic color also left an impression on the Fauvists, including Henri Matisse. He moved art away from the imitation of reality toward a construction of visual experience based on perception and structure.

    Where to read more

    Find this online

    QR code linking to the download page for Large Trees at Jas de Bouffan

    topimpressionists.com/en/art/download/paul-cezanne-large-trees-at-jas-de-bouffan-8EWNXP-en/

    Cite this artwork

    MLA
    Cézanne, Paul. Large Trees at Jas de Bouffan. 1887, https://topimpressionists.com/en/art/paul-cezanne-large-trees-at-jas-de-bouffan-8EWNXP-en/
    APA
    Cézanne, Paul (1887). Large Trees at Jas de Bouffan [Painting]. https://topimpressionists.com/en/art/paul-cezanne-large-trees-at-jas-de-bouffan-8EWNXP-en/
    Chicago
    Paul Cézanne. Large Trees at Jas de Bouffan. 1887. https://topimpressionists.com/en/art/paul-cezanne-large-trees-at-jas-de-bouffan-8EWNXP-en/
    Harvard
    Cézanne, Paul (1887) Large Trees at Jas de Bouffan. Available at: https://topimpressionists.com/en/art/paul-cezanne-large-trees-at-jas-de-bouffan-8EWNXP-en/

    Look closely

    Large Trees at Jas de Bouffan — Paul Cézanne

    Look closely

    Answer in your own words. There are no wrong answers here — only answers you can explain.

    1. What catches your eye first, and why?
    2. Which colours or shapes create the mood — and what is that mood?
    3. Our catalogue files this work under: trees, landscape, forest. Do you agree? What would you add, or take away?
    4. Look back at The Card Players (1893), earlier in this guide. Name two things it shares with this work, and one that is different.
    5. Post-Impressionism: Artists who kept the bright colour of Impressionism but pushed shape and feeling further than the eye really sees. Where can you see that in this work?

    Your response

    Write a short paragraph about this artwork. Use the facts from the earlier parts of this guide, and your answers above.

    Art quiz

    Large Trees at Jas de Bouffan — Paul Cézanne

    How well do you know this artwork?

    Tick one answer for each of the 5 questions below. Each has exactly one correct answer.

    1. 1. Paul Cézanne's 'Large Trees at Jas de Bouffan' is considered a pivotal work because it bridges which two artistic movements?

      • A Renaissance and Baroque
      • B Impressionism and Cubism
      • C Realism and Surrealism
    2. 2. What is a dominant color characteristic of 'Large Trees at Jas de Bouffan'?

      • A Warm reds and oranges
      • B Cool blues and greens
      • C Monochromatic grays
    3. 3. Cézanne’s approach to painting, as exemplified in this work, emphasized what aspect of the subject matter?

      • A Precise photographic realism
      • B Underlying structure and formal qualities
      • C Emotional expression through vibrant color
    4. 4. Which artists are famously quoted as saying Cézanne “is the father of us all?”

      • A Van Gogh & Monet
      • B Picasso & Matisse
      • C Renoir & Degas
    5. 5. What was the initial reception to Cézanne's paintings during his lifetime?

      • A Immediate critical acclaim and commercial success
      • B Widespread incomprehension and ridicule
      • C Moderate appreciation within artistic circles

    My score: ____ out of 5

    Answer key — for the teacher

    This starts a fresh printed page, so it can simply be left out of the copies.

    1B · 2B · 3B · 4B · 5B

    Check any answer against the catalogue record for this painting

    Questions & Answers

    What explains the copyright situation of "Large Trees at Jas de Bouffan" by Paul Cézanne?

    "Large Trees at Jas de Bouffan" by Paul Cézanne is in the public domain - its copyright has expired. Copyright duration runs from the artist's death, which occurred in 1906.

    How can I view "Large Trees at Jas de Bouffan" by Paul Cézanne as a slideshow?

    "Large Trees at Jas de Bouffan" by Paul Cézanne can be viewed as a slideshow on the artwork's Diaporama page.

    What feeling is "Large Trees at Jas de Bouffan" associated with?

    "Large Trees at Jas de Bouffan" is associated with a tranquil feeling. The emotional tone describes the impression the work gives.