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Starting around 1887, using his wife and son as models, Cézanne began to paint single figures with the same gravity he had developed in his landscapes and still lifes. Around 1890 he extended his options by enlisting workers from his family's estate in the south of France. The worker who posed for Man in a Blue Smock also posed for the famous Cardplayers compositions of the early 1890s. For the remainder of his career, Cézanne maintained his interest in making portraits of rural workers—if the term "portrait" can be applied to images of anonymous models posed as themselves in the studio. In the background of Man in a Blue Smock, Cézanne represented the right-hand section of a folding screen that was his very first work of art (around 1859, Musée Granet, Aix-en-Provence). Featuring elegant figures such as the woman with a parasol, this was a scene of leisure rendered in the pastoral spirit of an eighteenth-century tapestry. Juxtaposed in an ambiguous way next to the worker in the Kimbell portrait, this faceless woman perhaps suggests some mute dialogue between opposite sexes, differing social classes, or even between the artist's earliest and most fully evolved efforts as a painter. Medium: Oil on Canvas

Small        Size

Small Size

Man In A Blue Smock Poster
Rolled • 12x17 inches
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Small        Size

Small Size

Man In A Blue Smock Poster
Framed • 12x17 inches
Small Size

Small Size

Man In A Blue Smock Art Print
Rolled • 9x12 inches
Compact Size

Compact Size

Man In A Blue Smock Art Print
Rolled • 14x18 inches
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Medium Size

Medium Size

Man In A Blue Smock Art Print
Rolled • 19x24 inches
Large Size

Large Size

Man In A Blue Smock Art Print
Rolled • 23x30 inches
Small Size

Small Size

Man In A Blue Smock Canvas Print
Rolled • 9x12 inches
Small Size

Small Size

Man In A Blue Smock Canvas Print
Wrapped • 9x12 inches
Compact Size

Compact Size

Man In A Blue Smock Canvas Print
Rolled • 14x18 inches
Small Size

Small Size

Man In A Blue Smock Canvas Framed Print
Framed • 9x12 inches
Medium Size

Medium Size

Man In A Blue Smock Canvas Print
Rolled • 19x24 inches
Compact Size

Compact Size

Man In A Blue Smock Canvas Print
Wrapped • 14x18 inches
Compact Size

Compact Size

Man In A Blue Smock Canvas Framed Print
Framed • 14x18 inches
BEST SELLER
Large Size

Large Size

Man In A Blue Smock Canvas Print
Rolled • 23x30 inches
Medium Size

Medium Size

Man In A Blue Smock Canvas Print
Wrapped • 19x24 inches
Medium Size

Medium Size

Man In A Blue Smock Canvas Framed Print
Framed • 19x24 inches
BEST SELLER
Large Size

Large Size

Man In A Blue Smock Canvas Print
Wrapped • 23x30 inches
BEST SELLER
Large Size

Large Size

Man In A Blue Smock Canvas Framed Print
Framed • 23x30 inches
Small Size

Small Size

Man In A Blue Smock Framed Print
Framed with Mat • 9x12 inches
Compact Size

Compact Size

Man In A Blue Smock Framed Print
Framed with Mat • 14x18 inches
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Medium Size

Medium Size

Man In A Blue Smock Framed Print
Framed with Mat • 19x24 inches
Large Size

Large Size

Man In A Blue Smock Framed Print
Framed with Mat • 23x30 inches
Large        Size

Large Size

Man In A Blue Smock Poster
Rolled • Life Size 22x28.4 inches
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Large        Size

Large Size

Man In A Blue Smock Poster
Framed • Life Size 24x31 inches
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X-Large Size

X-Large Size

Man In A Blue Smock Large Canvas Print
Rolled • 28x36 inches
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X-Large Size

X-Large Size

Man In A Blue Smock Large Canvas Print
Wrapped • 28x36 inches
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X-Large Size

X-Large Size

Man In A Blue Smock Large Framed Print
Framed With Mat • 28x36 inches

Starting around 1887, using his wife and son as models, Cézanne began to paint single figures with the same gravity he had developed in his landscapes and still lifes. Around 1890 he extended his options by enlisting workers from his family's estate in the south of France. The worker who posed for Man in a Blue Smock also posed for the famous Cardplayers compositions of the early 1890s. For the remainder of his career, Cézanne maintained his interest in making portraits of rural workers—if the term "portrait" can be applied to images of anonymous models posed as themselves in the studio. In the background of Man in a Blue Smock, Cézanne represented the right-hand section of a folding screen that was his very first work of art (around 1859, Musée Granet, Aix-en-Provence). Featuring elegant figures such as the woman with a parasol, this was a scene of leisure rendered in the pastoral spirit of an eighteenth-century tapestry. Juxtaposed in an ambiguous way next to the worker in the Kimbell portrait, this faceless woman perhaps suggests some mute dialogue between opposite sexes, differing social classes, or even between the artist's earliest and most fully evolved efforts as a painter. Medium: Oil on Canvas

Paul Cézanne (1839 - 1906) was a French artist and Post-Impressionist whose work laid the foundations of the transition from 19th-century conception of artistic endeavour to a new and radically different world of art in the 20th century.

Cézanne often repetitive, exploratory brushstrokes are highly characteristic and clearly recognizable. He used planes of color and small brushstrokes that built up to form complex fields.

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