Paul Cezanne (1839-1906), Attributed to, oil on canvas. This work by Paul Cezanne abandons the single-point perspective of classical still life. The pleats of the tablecloth, the curvature of the fruit basket, and the outline of the earthenware jar are interwoven on the plane, but through the layering of colors and the stacking of shapes, a strong sense of three-dimensionality is created. The volume and rhythm are shaped by the contrast of warm and cool tones. The red and orange fruits, the blue and green tablecloth, the pink and white of the patterned earthenware jar and the deep red background form a sharp contrast of warm and cool tones.

Dimensions: Image size: 25 1/2 inches x 33 1/2 inches. All measured values are approximate. Outer frame size: 28 3/8 inches x 36 1/2 inches. All measured values are approximate.

Provenance and authenticity: According to information provided by the consignor, this lot is accompanied by documentation relating to prior opinions on attribution and authenticity, including a certificate of authenticity.

The auction house has not independently verified the provenance or authenticity of this lot, and all related information is provided for reference only.

Note: Paul Cezanne (1839-1906) was at the critical juncture of the artistic revolution at the end of the 19th century. Dissatisfied with the Impressionists' excessive obsession with "momentary light and shadow", he turned to pursue the "permanence" of art. He uses still life as a medium, attempting to construct a "formal order" independent of reality on the canvas. This work is a typical example of his late still life series, embodying his ultimate contemplation on "form, color and structure". This sense of contradiction that is both planar and three-dimensional is Cezanne's avant-garde expression of the idea that "the essence of painting is planar composition". Cezanne did not imitate the inherent colors of objects. Instead, through the juxtaposition of colors (such as the red of fruits and the blue of tablecloths), he allowed the inherent tension of colors to shape the volume of objects, thus transforming still life from "imitating reality" to "autonomous expression of colors".