Friday the 12th of May, 2023, saw the unveiling of Paul Cézanne’s La Vie des Champs (Life in the Fields) at the National Gallery of Ireland. Since its reveal almost a year ago, the painting, and the circumstances in which the gallery has come into possession of the piece, have not escaped controversy.
The work was completed in 1877 in Cézanne’s native Provence, in Southern France; although the artist most likely completed studies for the picture, the scene itself is probably one of his imagination. The National Gallery describes that piece as a “vibrant, imaginary landscape”, with the woman in the centre of the composition carrying a water jug on her head. A horse, two men, and one woman flank her along with framing trees. Painted the year that Cézanne reentered the impressionist exhibitions after a three-year hiatus, the painting highlights a pivotal moment in the artist's career where he began to develop his signature style. A clear departure from the darker and thicker paint application - as seen in pieces such as1871’s La Promenade, - La Vie des Champs shows a move to a lighter, more colourful palette, his parallel vertical brush strokes especially visible in the lush greenery that dominates the scene. The work also shows a clear interest in perspective as indicated by the looming architectural feature in the centre background of the piece. Both such elements became essential components of his later style.
It is true that the purchase of the newly acquired Cézanne work acts as a significant contribution to the collection of late nineteenth-century works at the National Gallery of Ireland. However, not everyone is convinced that the National Gallery was justified in its purchase. Although the exact price of the piece is unconfirmed, what is known to be true is that the National Gallery of Ireland sought €2 million from the Irish government for the purchase of this art piece. The full amount was not granted, but the Government of Ireland still contributed €1.85 million towards the cost of the piece, an amount which was then supplemented by a “major private philanthropic donation”, hence why the price of the piece is still under wraps; The National Gallery says that the benefactor was given “strict assurances” that the donation would be kept “wholly confidential”. Finally, a small sum was contributed by the National Gallery itself, “not expected to exceed €150,000.” Despite the fact that the final cost is not known to the public, it is indisputable that the artwork cost the gallery, a private donor, and the Government of Ireland—hence the Irish public—a significant amount of money. The gallery is careful to point out on its webpage relating to the acquisition of the piece, that the picture now belongs to the people of Ireland. The National Gallery also appears confident in its statements that the piece will instantly become a staple of the collection and will over time become a favourite of the public. Yet for many, this justification is not enough.
It is indisputable that there is a place for governmental funding of the arts. Yet many have raised the point that a significant number of young, up-and-coming, Irish-based artists could have had their projects
funded with the money spent on the Cézanne piece. Not to mention that, in the midst of Ireland's current homelessness crisis, many would consider such a significant amount of taxpayer money being spent on a single painting as irresponsible.
Yet the concerns are not purely financial. In 2019 the gallery stated that they wished to prioritise the acquisition of works by female artists after the realisation of the significant gender imbalance in the gallery’s more than 16,000 work collection. This sentiment was only further enforced by Dr Caroline Campbell when she was elected the first female director of the National Gallery of Ireland in 2022. The presence of women has been felt in the National Gallery recently, with 2023 seeing the exhibitions Lavinia Fontana: Trailblazer, Rule Breaker and It Took a Century: Women Artists and the RHA. The purchasing of Rachel Ruysch’s Vase of Flowers with an Ear of Corn, 1742, as well as Hannah Höch’s Duft, 1937, last year was in line with the gallery's policy. The purchase of La Vie des Champs seems to some in complete contradiction to the actions that the gallery themselves stated they wished to follow.
Finally, there seems to be confusion about the status of the piece in relation to the pre-existing collection. The Irish Times, along with several other publications, hailed the Cézanne work purchased in 2023 as the National Galleries' first work by the artist. This is in fact untrue. It is the case that La Vie des Champs is the first Cézanne oil painting purchased by the gallery. Yet, in the gallery’s prints and drawings department, there is an unfinished Cézanne watercolour, believed to be the beginning of a study of Mont Sainte-Victoire; of which the artist later created a finished version. The watercolour was given to the gallery by Sir Alfred Chester Beatty in 1954.
Regardless of the controversy, Paul Cézanne’s La Vie des Champs is still a significant piece of art that should be appreciated in its own right. It is on display in Rooms 1-5 of the National Gallery of Ireland’s Millennium Wing.
Friday the 12th of May, 2023, saw the unveiling of Paul Cézanne’s La Vie des Champs (Life in the Fields) at the National Gallery of Ireland. Since its reveal almost a year ago, the painting, and the circumstances in which the gallery has come into possession of the piece, have not escaped controversy.
The work was completed in 1877 in Cézanne’s native Provence, in Southern France; although the artist most likely completed studies for the picture, the scene itself is probably one of his imagination. The National Gallery describes that piece as a “vibrant, imaginary landscape”, with the woman in the centre of the composition carrying a water jug on her head. A horse, two men, and one woman flank her along with framing trees. Painted the year that Cézanne reentered the impressionist exhibitions after a three-year hiatus, the painting highlights a pivotal moment in the artist's career where he began to develop his signature style. A clear departure from the darker and thicker paint application - as seen in pieces such as1871’s La Promenade, - La Vie des Champs shows a move to a lighter, more colourful palette, his parallel vertical brush strokes especially visible in the lush greenery that dominates the scene. The work also shows a clear interest in perspective as indicated by the looming architectural feature in the centre background of the piece. Both such elements became essential components of his later style.
It is true that the purchase of the newly acquired Cézanne work acts as a significant contribution to the collection of late nineteenth-century works at the National Gallery of Ireland. However, not everyone is convinced that the National Gallery was justified in its purchase. Although the exact price of the piece is unconfirmed, what is known to be true is that the National Gallery of Ireland sought €2 million from the Irish government for the purchase of this art piece. The full amount was not granted, but the Government of Ireland still contributed €1.85 million towards the cost of the piece, an amount which was then supplemented by a “major private philanthropic donation”, hence why the price of the piece is still under wraps; The National Gallery says that the benefactor was given “strict assurances” that the donation would be kept “wholly confidential”. Finally, a small sum was contributed by the National Gallery itself, “not expected to exceed €150,000.” Despite the fact that the final cost is not known to the public, it is indisputable that the artwork cost the gallery, a private donor, and the Government of Ireland—hence the Irish public—a significant amount of money. The gallery is careful to point out on its webpage relating to the acquisition of the piece, that the picture now belongs to the people of Ireland. The National Gallery also appears confident in its statements that the piece will instantly become a staple of the collection and will over time become a favourite of the public. Yet for many, this justification is not enough.
It is indisputable that there is a place for governmental funding of the arts. Yet many have raised the point that a significant number of young, up-and-coming, Irish-based artists could have had their projects
funded with the money spent on the Cézanne piece. Not to mention that, in the midst of Ireland's current homelessness crisis, many would consider such a significant amount of taxpayer money being spent on a single painting as irresponsible.
Yet the concerns are not purely financial. In 2019 the gallery stated that they wished to prioritise the acquisition of works by female artists after the realisation of the significant gender imbalance in the gallery’s more than 16,000 work collection. This sentiment was only further enforced by Dr Caroline Campbell when she was elected the first female director of the National Gallery of Ireland in 2022. The presence of women has been felt in the National Gallery recently, with 2023 seeing the exhibitions Lavinia Fontana: Trailblazer, Rule Breaker and It Took a Century: Women Artists and the RHA. The purchasing of Rachel Ruysch’s Vase of Flowers with an Ear of Corn, 1742, as well as Hannah Höch’s Duft, 1937, last year was in line with the gallery's policy. The purchase of La Vie des Champs seems to some in complete contradiction to the actions that the gallery themselves stated they wished to follow.
Finally, there seems to be confusion about the status of the piece in relation to the pre-existing collection. The Irish Times, along with several other publications, hailed the Cézanne work purchased in 2023 as the National Galleries' first work by the artist. This is in fact untrue. It is the case that La Vie des Champs is the first Cézanne oil painting purchased by the gallery. Yet, in the gallery’s prints and drawings department, there is an unfinished Cézanne watercolour, believed to be the beginning of a study of Mont Sainte-Victoire; of which the artist later created a finished version. The watercolour was given to the gallery by Sir Alfred Chester Beatty in 1954.
Regardless of the controversy, Paul Cézanne’s La Vie des Champs is still a significant piece of art that should be appreciated in its own right. It is on display in Rooms 1-5 of the National Gallery of Ireland’s Millennium Wing.
Friday the 12th of May, 2023, saw the unveiling of Paul Cézanne’s La Vie des Champs (Life in the Fields) at the National Gallery of Ireland. Since its reveal almost a year ago, the painting, and the circumstances in which the gallery has come into possession of the piece, have not escaped controversy.
The work was completed in 1877 in Cézanne’s native Provence, in Southern France; although the artist most likely completed studies for the picture, the scene itself is probably one of his imagination. The National Gallery describes that piece as a “vibrant, imaginary landscape”, with the woman in the centre of the composition carrying a water jug on her head. A horse, two men, and one woman flank her along with framing trees. Painted the year that Cézanne reentered the impressionist exhibitions after a three-year hiatus, the painting highlights a pivotal moment in the artist's career where he began to develop his signature style. A clear departure from the darker and thicker paint application - as seen in pieces such as1871’s La Promenade, - La Vie des Champs shows a move to a lighter, more colourful palette, his parallel vertical brush strokes especially visible in the lush greenery that dominates the scene. The work also shows a clear interest in perspective as indicated by the looming architectural feature in the centre background of the piece. Both such elements became essential components of his later style.
It is true that the purchase of the newly acquired Cézanne work acts as a significant contribution to the collection of late nineteenth-century works at the National Gallery of Ireland. However, not everyone is convinced that the National Gallery was justified in its purchase. Although the exact price of the piece is unconfirmed, what is known to be true is that the National Gallery of Ireland sought €2 million from the Irish government for the purchase of this art piece. The full amount was not granted, but the Government of Ireland still contributed €1.85 million towards the cost of the piece, an amount which was then supplemented by a “major private philanthropic donation”, hence why the price of the piece is still under wraps; The National Gallery says that the benefactor was given “strict assurances” that the donation would be kept “wholly confidential”. Finally, a small sum was contributed by the National Gallery itself, “not expected to exceed €150,000.” Despite the fact that the final cost is not known to the public, it is indisputable that the artwork cost the gallery, a private donor, and the Government of Ireland—hence the Irish public—a significant amount of money. The gallery is careful to point out on its webpage relating to the acquisition of the piece, that the picture now belongs to the people of Ireland. The National Gallery also appears confident in its statements that the piece will instantly become a staple of the collection and will over time become a favourite of the public. Yet for many, this justification is not enough.
It is indisputable that there is a place for governmental funding of the arts. Yet many have raised the point that a significant number of young, up-and-coming, Irish-based artists could have had their projects
funded with the money spent on the Cézanne piece. Not to mention that, in the midst of Ireland's current homelessness crisis, many would consider such a significant amount of taxpayer money being spent on a single painting as irresponsible.
Yet the concerns are not purely financial. In 2019 the gallery stated that they wished to prioritise the acquisition of works by female artists after the realisation of the significant gender imbalance in the gallery’s more than 16,000 work collection. This sentiment was only further enforced by Dr Caroline Campbell when she was elected the first female director of the National Gallery of Ireland in 2022. The presence of women has been felt in the National Gallery recently, with 2023 seeing the exhibitions Lavinia Fontana: Trailblazer, Rule Breaker and It Took a Century: Women Artists and the RHA. The purchasing of Rachel Ruysch’s Vase of Flowers with an Ear of Corn, 1742, as well as Hannah Höch’s Duft, 1937, last year was in line with the gallery's policy. The purchase of La Vie des Champs seems to some in complete contradiction to the actions that the gallery themselves stated they wished to follow.
Finally, there seems to be confusion about the status of the piece in relation to the pre-existing collection. The Irish Times, along with several other publications, hailed the Cézanne work purchased in 2023 as the National Galleries' first work by the artist. This is in fact untrue. It is the case that La Vie des Champs is the first Cézanne oil painting purchased by the gallery. Yet, in the gallery’s prints and drawings department, there is an unfinished Cézanne watercolour, believed to be the beginning of a study of Mont Sainte-Victoire; of which the artist later created a finished version. The watercolour was given to the gallery by Sir Alfred Chester Beatty in 1954.
Regardless of the controversy, Paul Cézanne’s La Vie des Champs is still a significant piece of art that should be appreciated in its own right. It is on display in Rooms 1-5 of the National Gallery of Ireland’s Millennium Wing.
Friday the 12th of May, 2023, saw the unveiling of Paul Cézanne’s La Vie des Champs (Life in the Fields) at the National Gallery of Ireland. Since its reveal almost a year ago, the painting, and the circumstances in which the gallery has come into possession of the piece, have not escaped controversy.
The work was completed in 1877 in Cézanne’s native Provence, in Southern France; although the artist most likely completed studies for the picture, the scene itself is probably one of his imagination. The National Gallery describes that piece as a “vibrant, imaginary landscape”, with the woman in the centre of the composition carrying a water jug on her head. A horse, two men, and one woman flank her along with framing trees. Painted the year that Cézanne reentered the impressionist exhibitions after a three-year hiatus, the painting highlights a pivotal moment in the artist's career where he began to develop his signature style. A clear departure from the darker and thicker paint application - as seen in pieces such as1871’s La Promenade, - La Vie des Champs shows a move to a lighter, more colourful palette, his parallel vertical brush strokes especially visible in the lush greenery that dominates the scene. The work also shows a clear interest in perspective as indicated by the looming architectural feature in the centre background of the piece. Both such elements became essential components of his later style.
It is true that the purchase of the newly acquired Cézanne work acts as a significant contribution to the collection of late nineteenth-century works at the National Gallery of Ireland. However, not everyone is convinced that the National Gallery was justified in its purchase. Although the exact price of the piece is unconfirmed, what is known to be true is that the National Gallery of Ireland sought €2 million from the Irish government for the purchase of this art piece. The full amount was not granted, but the Government of Ireland still contributed €1.85 million towards the cost of the piece, an amount which was then supplemented by a “major private philanthropic donation”, hence why the price of the piece is still under wraps; The National Gallery says that the benefactor was given “strict assurances” that the donation would be kept “wholly confidential”. Finally, a small sum was contributed by the National Gallery itself, “not expected to exceed €150,000.” Despite the fact that the final cost is not known to the public, it is indisputable that the artwork cost the gallery, a private donor, and the Government of Ireland—hence the Irish public—a significant amount of money. The gallery is careful to point out on its webpage relating to the acquisition of the piece, that the picture now belongs to the people of Ireland. The National Gallery also appears confident in its statements that the piece will instantly become a staple of the collection and will over time become a favourite of the public. Yet for many, this justification is not enough.
It is indisputable that there is a place for governmental funding of the arts. Yet many have raised the point that a significant number of young, up-and-coming, Irish-based artists could have had their projects
funded with the money spent on the Cézanne piece. Not to mention that, in the midst of Ireland's current homelessness crisis, many would consider such a significant amount of taxpayer money being spent on a single painting as irresponsible.
Yet the concerns are not purely financial. In 2019 the gallery stated that they wished to prioritise the acquisition of works by female artists after the realisation of the significant gender imbalance in the gallery’s more than 16,000 work collection. This sentiment was only further enforced by Dr Caroline Campbell when she was elected the first female director of the National Gallery of Ireland in 2022. The presence of women has been felt in the National Gallery recently, with 2023 seeing the exhibitions Lavinia Fontana: Trailblazer, Rule Breaker and It Took a Century: Women Artists and the RHA. The purchasing of Rachel Ruysch’s Vase of Flowers with an Ear of Corn, 1742, as well as Hannah Höch’s Duft, 1937, last year was in line with the gallery's policy. The purchase of La Vie des Champs seems to some in complete contradiction to the actions that the gallery themselves stated they wished to follow.
Finally, there seems to be confusion about the status of the piece in relation to the pre-existing collection. The Irish Times, along with several other publications, hailed the Cézanne work purchased in 2023 as the National Galleries' first work by the artist. This is in fact untrue. It is the case that La Vie des Champs is the first Cézanne oil painting purchased by the gallery. Yet, in the gallery’s prints and drawings department, there is an unfinished Cézanne watercolour, believed to be the beginning of a study of Mont Sainte-Victoire; of which the artist later created a finished version. The watercolour was given to the gallery by Sir Alfred Chester Beatty in 1954.
Regardless of the controversy, Paul Cézanne’s La Vie des Champs is still a significant piece of art that should be appreciated in its own right. It is on display in Rooms 1-5 of the National Gallery of Ireland’s Millennium Wing.
Friday the 12th of May, 2023, saw the unveiling of Paul Cézanne’s La Vie des Champs (Life in the Fields) at the National Gallery of Ireland. Since its reveal almost a year ago, the painting, and the circumstances in which the gallery has come into possession of the piece, have not escaped controversy.
The work was completed in 1877 in Cézanne’s native Provence, in Southern France; although the artist most likely completed studies for the picture, the scene itself is probably one of his imagination. The National Gallery describes that piece as a “vibrant, imaginary landscape”, with the woman in the centre of the composition carrying a water jug on her head. A horse, two men, and one woman flank her along with framing trees. Painted the year that Cézanne reentered the impressionist exhibitions after a three-year hiatus, the painting highlights a pivotal moment in the artist's career where he began to develop his signature style. A clear departure from the darker and thicker paint application - as seen in pieces such as1871’s La Promenade, - La Vie des Champs shows a move to a lighter, more colourful palette, his parallel vertical brush strokes especially visible in the lush greenery that dominates the scene. The work also shows a clear interest in perspective as indicated by the looming architectural feature in the centre background of the piece. Both such elements became essential components of his later style.
It is true that the purchase of the newly acquired Cézanne work acts as a significant contribution to the collection of late nineteenth-century works at the National Gallery of Ireland. However, not everyone is convinced that the National Gallery was justified in its purchase. Although the exact price of the piece is unconfirmed, what is known to be true is that the National Gallery of Ireland sought €2 million from the Irish government for the purchase of this art piece. The full amount was not granted, but the Government of Ireland still contributed €1.85 million towards the cost of the piece, an amount which was then supplemented by a “major private philanthropic donation”, hence why the price of the piece is still under wraps; The National Gallery says that the benefactor was given “strict assurances” that the donation would be kept “wholly confidential”. Finally, a small sum was contributed by the National Gallery itself, “not expected to exceed €150,000.” Despite the fact that the final cost is not known to the public, it is indisputable that the artwork cost the gallery, a private donor, and the Government of Ireland—hence the Irish public—a significant amount of money. The gallery is careful to point out on its webpage relating to the acquisition of the piece, that the picture now belongs to the people of Ireland. The National Gallery also appears confident in its statements that the piece will instantly become a staple of the collection and will over time become a favourite of the public. Yet for many, this justification is not enough.
It is indisputable that there is a place for governmental funding of the arts. Yet many have raised the point that a significant number of young, up-and-coming, Irish-based artists could have had their projects
funded with the money spent on the Cézanne piece. Not to mention that, in the midst of Ireland's current homelessness crisis, many would consider such a significant amount of taxpayer money being spent on a single painting as irresponsible.
Yet the concerns are not purely financial. In 2019 the gallery stated that they wished to prioritise the acquisition of works by female artists after the realisation of the significant gender imbalance in the gallery’s more than 16,000 work collection. This sentiment was only further enforced by Dr Caroline Campbell when she was elected the first female director of the National Gallery of Ireland in 2022. The presence of women has been felt in the National Gallery recently, with 2023 seeing the exhibitions Lavinia Fontana: Trailblazer, Rule Breaker and It Took a Century: Women Artists and the RHA. The purchasing of Rachel Ruysch’s Vase of Flowers with an Ear of Corn, 1742, as well as Hannah Höch’s Duft, 1937, last year was in line with the gallery's policy. The purchase of La Vie des Champs seems to some in complete contradiction to the actions that the gallery themselves stated they wished to follow.
Finally, there seems to be confusion about the status of the piece in relation to the pre-existing collection. The Irish Times, along with several other publications, hailed the Cézanne work purchased in 2023 as the National Galleries' first work by the artist. This is in fact untrue. It is the case that La Vie des Champs is the first Cézanne oil painting purchased by the gallery. Yet, in the gallery’s prints and drawings department, there is an unfinished Cézanne watercolour, believed to be the beginning of a study of Mont Sainte-Victoire; of which the artist later created a finished version. The watercolour was given to the gallery by Sir Alfred Chester Beatty in 1954.
Regardless of the controversy, Paul Cézanne’s La Vie des Champs is still a significant piece of art that should be appreciated in its own right. It is on display in Rooms 1-5 of the National Gallery of Ireland’s Millennium Wing.
Friday the 12th of May, 2023, saw the unveiling of Paul Cézanne’s La Vie des Champs (Life in the Fields) at the National Gallery of Ireland. Since its reveal almost a year ago, the painting, and the circumstances in which the gallery has come into possession of the piece, have not escaped controversy.
The work was completed in 1877 in Cézanne’s native Provence, in Southern France; although the artist most likely completed studies for the picture, the scene itself is probably one of his imagination. The National Gallery describes that piece as a “vibrant, imaginary landscape”, with the woman in the centre of the composition carrying a water jug on her head. A horse, two men, and one woman flank her along with framing trees. Painted the year that Cézanne reentered the impressionist exhibitions after a three-year hiatus, the painting highlights a pivotal moment in the artist's career where he began to develop his signature style. A clear departure from the darker and thicker paint application - as seen in pieces such as1871’s La Promenade, - La Vie des Champs shows a move to a lighter, more colourful palette, his parallel vertical brush strokes especially visible in the lush greenery that dominates the scene. The work also shows a clear interest in perspective as indicated by the looming architectural feature in the centre background of the piece. Both such elements became essential components of his later style.
It is true that the purchase of the newly acquired Cézanne work acts as a significant contribution to the collection of late nineteenth-century works at the National Gallery of Ireland. However, not everyone is convinced that the National Gallery was justified in its purchase. Although the exact price of the piece is unconfirmed, what is known to be true is that the National Gallery of Ireland sought €2 million from the Irish government for the purchase of this art piece. The full amount was not granted, but the Government of Ireland still contributed €1.85 million towards the cost of the piece, an amount which was then supplemented by a “major private philanthropic donation”, hence why the price of the piece is still under wraps; The National Gallery says that the benefactor was given “strict assurances” that the donation would be kept “wholly confidential”. Finally, a small sum was contributed by the National Gallery itself, “not expected to exceed €150,000.” Despite the fact that the final cost is not known to the public, it is indisputable that the artwork cost the gallery, a private donor, and the Government of Ireland—hence the Irish public—a significant amount of money. The gallery is careful to point out on its webpage relating to the acquisition of the piece, that the picture now belongs to the people of Ireland. The National Gallery also appears confident in its statements that the piece will instantly become a staple of the collection and will over time become a favourite of the public. Yet for many, this justification is not enough.
It is indisputable that there is a place for governmental funding of the arts. Yet many have raised the point that a significant number of young, up-and-coming, Irish-based artists could have had their projects
funded with the money spent on the Cézanne piece. Not to mention that, in the midst of Ireland's current homelessness crisis, many would consider such a significant amount of taxpayer money being spent on a single painting as irresponsible.
Yet the concerns are not purely financial. In 2019 the gallery stated that they wished to prioritise the acquisition of works by female artists after the realisation of the significant gender imbalance in the gallery’s more than 16,000 work collection. This sentiment was only further enforced by Dr Caroline Campbell when she was elected the first female director of the National Gallery of Ireland in 2022. The presence of women has been felt in the National Gallery recently, with 2023 seeing the exhibitions Lavinia Fontana: Trailblazer, Rule Breaker and It Took a Century: Women Artists and the RHA. The purchasing of Rachel Ruysch’s Vase of Flowers with an Ear of Corn, 1742, as well as Hannah Höch’s Duft, 1937, last year was in line with the gallery's policy. The purchase of La Vie des Champs seems to some in complete contradiction to the actions that the gallery themselves stated they wished to follow.
Finally, there seems to be confusion about the status of the piece in relation to the pre-existing collection. The Irish Times, along with several other publications, hailed the Cézanne work purchased in 2023 as the National Galleries' first work by the artist. This is in fact untrue. It is the case that La Vie des Champs is the first Cézanne oil painting purchased by the gallery. Yet, in the gallery’s prints and drawings department, there is an unfinished Cézanne watercolour, believed to be the beginning of a study of Mont Sainte-Victoire; of which the artist later created a finished version. The watercolour was given to the gallery by Sir Alfred Chester Beatty in 1954.
Regardless of the controversy, Paul Cézanne’s La Vie des Champs is still a significant piece of art that should be appreciated in its own right. It is on display in Rooms 1-5 of the National Gallery of Ireland’s Millennium Wing.
Friday the 12th of May, 2023, saw the unveiling of Paul Cézanne’s La Vie des Champs (Life in the Fields) at the National Gallery of Ireland. Since its reveal almost a year ago, the painting, and the circumstances in which the gallery has come into possession of the piece, have not escaped controversy.
The work was completed in 1877 in Cézanne’s native Provence, in Southern France; although the artist most likely completed studies for the picture, the scene itself is probably one of his imagination. The National Gallery describes that piece as a “vibrant, imaginary landscape”, with the woman in the centre of the composition carrying a water jug on her head. A horse, two men, and one woman flank her along with framing trees. Painted the year that Cézanne reentered the impressionist exhibitions after a three-year hiatus, the painting highlights a pivotal moment in the artist's career where he began to develop his signature style. A clear departure from the darker and thicker paint application - as seen in pieces such as1871’s La Promenade, - La Vie des Champs shows a move to a lighter, more colourful palette, his parallel vertical brush strokes especially visible in the lush greenery that dominates the scene. The work also shows a clear interest in perspective as indicated by the looming architectural feature in the centre background of the piece. Both such elements became essential components of his later style.
It is true that the purchase of the newly acquired Cézanne work acts as a significant contribution to the collection of late nineteenth-century works at the National Gallery of Ireland. However, not everyone is convinced that the National Gallery was justified in its purchase. Although the exact price of the piece is unconfirmed, what is known to be true is that the National Gallery of Ireland sought €2 million from the Irish government for the purchase of this art piece. The full amount was not granted, but the Government of Ireland still contributed €1.85 million towards the cost of the piece, an amount which was then supplemented by a “major private philanthropic donation”, hence why the price of the piece is still under wraps; The National Gallery says that the benefactor was given “strict assurances” that the donation would be kept “wholly confidential”. Finally, a small sum was contributed by the National Gallery itself, “not expected to exceed €150,000.” Despite the fact that the final cost is not known to the public, it is indisputable that the artwork cost the gallery, a private donor, and the Government of Ireland—hence the Irish public—a significant amount of money. The gallery is careful to point out on its webpage relating to the acquisition of the piece, that the picture now belongs to the people of Ireland. The National Gallery also appears confident in its statements that the piece will instantly become a staple of the collection and will over time become a favourite of the public. Yet for many, this justification is not enough.
It is indisputable that there is a place for governmental funding of the arts. Yet many have raised the point that a significant number of young, up-and-coming, Irish-based artists could have had their projects
funded with the money spent on the Cézanne piece. Not to mention that, in the midst of Ireland's current homelessness crisis, many would consider such a significant amount of taxpayer money being spent on a single painting as irresponsible.
Yet the concerns are not purely financial. In 2019 the gallery stated that they wished to prioritise the acquisition of works by female artists after the realisation of the significant gender imbalance in the gallery’s more than 16,000 work collection. This sentiment was only further enforced by Dr Caroline Campbell when she was elected the first female director of the National Gallery of Ireland in 2022. The presence of women has been felt in the National Gallery recently, with 2023 seeing the exhibitions Lavinia Fontana: Trailblazer, Rule Breaker and It Took a Century: Women Artists and the RHA. The purchasing of Rachel Ruysch’s Vase of Flowers with an Ear of Corn, 1742, as well as Hannah Höch’s Duft, 1937, last year was in line with the gallery's policy. The purchase of La Vie des Champs seems to some in complete contradiction to the actions that the gallery themselves stated they wished to follow.
Finally, there seems to be confusion about the status of the piece in relation to the pre-existing collection. The Irish Times, along with several other publications, hailed the Cézanne work purchased in 2023 as the National Galleries' first work by the artist. This is in fact untrue. It is the case that La Vie des Champs is the first Cézanne oil painting purchased by the gallery. Yet, in the gallery’s prints and drawings department, there is an unfinished Cézanne watercolour, believed to be the beginning of a study of Mont Sainte-Victoire; of which the artist later created a finished version. The watercolour was given to the gallery by Sir Alfred Chester Beatty in 1954.
Regardless of the controversy, Paul Cézanne’s La Vie des Champs is still a significant piece of art that should be appreciated in its own right. It is on display in Rooms 1-5 of the National Gallery of Ireland’s Millennium Wing.
Friday the 12th of May, 2023, saw the unveiling of Paul Cézanne’s La Vie des Champs (Life in the Fields) at the National Gallery of Ireland. Since its reveal almost a year ago, the painting, and the circumstances in which the gallery has come into possession of the piece, have not escaped controversy.
The work was completed in 1877 in Cézanne’s native Provence, in Southern France; although the artist most likely completed studies for the picture, the scene itself is probably one of his imagination. The National Gallery describes that piece as a “vibrant, imaginary landscape”, with the woman in the centre of the composition carrying a water jug on her head. A horse, two men, and one woman flank her along with framing trees. Painted the year that Cézanne reentered the impressionist exhibitions after a three-year hiatus, the painting highlights a pivotal moment in the artist's career where he began to develop his signature style. A clear departure from the darker and thicker paint application - as seen in pieces such as1871’s La Promenade, - La Vie des Champs shows a move to a lighter, more colourful palette, his parallel vertical brush strokes especially visible in the lush greenery that dominates the scene. The work also shows a clear interest in perspective as indicated by the looming architectural feature in the centre background of the piece. Both such elements became essential components of his later style.
It is true that the purchase of the newly acquired Cézanne work acts as a significant contribution to the collection of late nineteenth-century works at the National Gallery of Ireland. However, not everyone is convinced that the National Gallery was justified in its purchase. Although the exact price of the piece is unconfirmed, what is known to be true is that the National Gallery of Ireland sought €2 million from the Irish government for the purchase of this art piece. The full amount was not granted, but the Government of Ireland still contributed €1.85 million towards the cost of the piece, an amount which was then supplemented by a “major private philanthropic donation”, hence why the price of the piece is still under wraps; The National Gallery says that the benefactor was given “strict assurances” that the donation would be kept “wholly confidential”. Finally, a small sum was contributed by the National Gallery itself, “not expected to exceed €150,000.” Despite the fact that the final cost is not known to the public, it is indisputable that the artwork cost the gallery, a private donor, and the Government of Ireland—hence the Irish public—a significant amount of money. The gallery is careful to point out on its webpage relating to the acquisition of the piece, that the picture now belongs to the people of Ireland. The National Gallery also appears confident in its statements that the piece will instantly become a staple of the collection and will over time become a favourite of the public. Yet for many, this justification is not enough.
It is indisputable that there is a place for governmental funding of the arts. Yet many have raised the point that a significant number of young, up-and-coming, Irish-based artists could have had their projects
funded with the money spent on the Cézanne piece. Not to mention that, in the midst of Ireland's current homelessness crisis, many would consider such a significant amount of taxpayer money being spent on a single painting as irresponsible.
Yet the concerns are not purely financial. In 2019 the gallery stated that they wished to prioritise the acquisition of works by female artists after the realisation of the significant gender imbalance in the gallery’s more than 16,000 work collection. This sentiment was only further enforced by Dr Caroline Campbell when she was elected the first female director of the National Gallery of Ireland in 2022. The presence of women has been felt in the National Gallery recently, with 2023 seeing the exhibitions Lavinia Fontana: Trailblazer, Rule Breaker and It Took a Century: Women Artists and the RHA. The purchasing of Rachel Ruysch’s Vase of Flowers with an Ear of Corn, 1742, as well as Hannah Höch’s Duft, 1937, last year was in line with the gallery's policy. The purchase of La Vie des Champs seems to some in complete contradiction to the actions that the gallery themselves stated they wished to follow.
Finally, there seems to be confusion about the status of the piece in relation to the pre-existing collection. The Irish Times, along with several other publications, hailed the Cézanne work purchased in 2023 as the National Galleries' first work by the artist. This is in fact untrue. It is the case that La Vie des Champs is the first Cézanne oil painting purchased by the gallery. Yet, in the gallery’s prints and drawings department, there is an unfinished Cézanne watercolour, believed to be the beginning of a study of Mont Sainte-Victoire; of which the artist later created a finished version. The watercolour was given to the gallery by Sir Alfred Chester Beatty in 1954.
Regardless of the controversy, Paul Cézanne’s La Vie des Champs is still a significant piece of art that should be appreciated in its own right. It is on display in Rooms 1-5 of the National Gallery of Ireland’s Millennium Wing.
Friday the 12th of May, 2023, saw the unveiling of Paul Cézanne’s La Vie des Champs (Life in the Fields) at the National Gallery of Ireland. Since its reveal almost a year ago, the painting, and the circumstances in which the gallery has come into possession of the piece, have not escaped controversy.
The work was completed in 1877 in Cézanne’s native Provence, in Southern France; although the artist most likely completed studies for the picture, the scene itself is probably one of his imagination. The National Gallery describes that piece as a “vibrant, imaginary landscape”, with the woman in the centre of the composition carrying a water jug on her head. A horse, two men, and one woman flank her along with framing trees. Painted the year that Cézanne reentered the impressionist exhibitions after a three-year hiatus, the painting highlights a pivotal moment in the artist's career where he began to develop his signature style. A clear departure from the darker and thicker paint application - as seen in pieces such as1871’s La Promenade, - La Vie des Champs shows a move to a lighter, more colourful palette, his parallel vertical brush strokes especially visible in the lush greenery that dominates the scene. The work also shows a clear interest in perspective as indicated by the looming architectural feature in the centre background of the piece. Both such elements became essential components of his later style.
It is true that the purchase of the newly acquired Cézanne work acts as a significant contribution to the collection of late nineteenth-century works at the National Gallery of Ireland. However, not everyone is convinced that the National Gallery was justified in its purchase. Although the exact price of the piece is unconfirmed, what is known to be true is that the National Gallery of Ireland sought €2 million from the Irish government for the purchase of this art piece. The full amount was not granted, but the Government of Ireland still contributed €1.85 million towards the cost of the piece, an amount which was then supplemented by a “major private philanthropic donation”, hence why the price of the piece is still under wraps; The National Gallery says that the benefactor was given “strict assurances” that the donation would be kept “wholly confidential”. Finally, a small sum was contributed by the National Gallery itself, “not expected to exceed €150,000.” Despite the fact that the final cost is not known to the public, it is indisputable that the artwork cost the gallery, a private donor, and the Government of Ireland—hence the Irish public—a significant amount of money. The gallery is careful to point out on its webpage relating to the acquisition of the piece, that the picture now belongs to the people of Ireland. The National Gallery also appears confident in its statements that the piece will instantly become a staple of the collection and will over time become a favourite of the public. Yet for many, this justification is not enough.
It is indisputable that there is a place for governmental funding of the arts. Yet many have raised the point that a significant number of young, up-and-coming, Irish-based artists could have had their projects
funded with the money spent on the Cézanne piece. Not to mention that, in the midst of Ireland's current homelessness crisis, many would consider such a significant amount of taxpayer money being spent on a single painting as irresponsible.
Yet the concerns are not purely financial. In 2019 the gallery stated that they wished to prioritise the acquisition of works by female artists after the realisation of the significant gender imbalance in the gallery’s more than 16,000 work collection. This sentiment was only further enforced by Dr Caroline Campbell when she was elected the first female director of the National Gallery of Ireland in 2022. The presence of women has been felt in the National Gallery recently, with 2023 seeing the exhibitions Lavinia Fontana: Trailblazer, Rule Breaker and It Took a Century: Women Artists and the RHA. The purchasing of Rachel Ruysch’s Vase of Flowers with an Ear of Corn, 1742, as well as Hannah Höch’s Duft, 1937, last year was in line with the gallery's policy. The purchase of La Vie des Champs seems to some in complete contradiction to the actions that the gallery themselves stated they wished to follow.
Finally, there seems to be confusion about the status of the piece in relation to the pre-existing collection. The Irish Times, along with several other publications, hailed the Cézanne work purchased in 2023 as the National Galleries' first work by the artist. This is in fact untrue. It is the case that La Vie des Champs is the first Cézanne oil painting purchased by the gallery. Yet, in the gallery’s prints and drawings department, there is an unfinished Cézanne watercolour, believed to be the beginning of a study of Mont Sainte-Victoire; of which the artist later created a finished version. The watercolour was given to the gallery by Sir Alfred Chester Beatty in 1954.
Regardless of the controversy, Paul Cézanne’s La Vie des Champs is still a significant piece of art that should be appreciated in its own right. It is on display in Rooms 1-5 of the National Gallery of Ireland’s Millennium Wing.
Friday the 12th of May, 2023, saw the unveiling of Paul Cézanne’s La Vie des Champs (Life in the Fields) at the National Gallery of Ireland. Since its reveal almost a year ago, the painting, and the circumstances in which the gallery has come into possession of the piece, have not escaped controversy.
The work was completed in 1877 in Cézanne’s native Provence, in Southern France; although the artist most likely completed studies for the picture, the scene itself is probably one of his imagination. The National Gallery describes that piece as a “vibrant, imaginary landscape”, with the woman in the centre of the composition carrying a water jug on her head. A horse, two men, and one woman flank her along with framing trees. Painted the year that Cézanne reentered the impressionist exhibitions after a three-year hiatus, the painting highlights a pivotal moment in the artist's career where he began to develop his signature style. A clear departure from the darker and thicker paint application - as seen in pieces such as1871’s La Promenade, - La Vie des Champs shows a move to a lighter, more colourful palette, his parallel vertical brush strokes especially visible in the lush greenery that dominates the scene. The work also shows a clear interest in perspective as indicated by the looming architectural feature in the centre background of the piece. Both such elements became essential components of his later style.
It is true that the purchase of the newly acquired Cézanne work acts as a significant contribution to the collection of late nineteenth-century works at the National Gallery of Ireland. However, not everyone is convinced that the National Gallery was justified in its purchase. Although the exact price of the piece is unconfirmed, what is known to be true is that the National Gallery of Ireland sought €2 million from the Irish government for the purchase of this art piece. The full amount was not granted, but the Government of Ireland still contributed €1.85 million towards the cost of the piece, an amount which was then supplemented by a “major private philanthropic donation”, hence why the price of the piece is still under wraps; The National Gallery says that the benefactor was given “strict assurances” that the donation would be kept “wholly confidential”. Finally, a small sum was contributed by the National Gallery itself, “not expected to exceed €150,000.” Despite the fact that the final cost is not known to the public, it is indisputable that the artwork cost the gallery, a private donor, and the Government of Ireland—hence the Irish public—a significant amount of money. The gallery is careful to point out on its webpage relating to the acquisition of the piece, that the picture now belongs to the people of Ireland. The National Gallery also appears confident in its statements that the piece will instantly become a staple of the collection and will over time become a favourite of the public. Yet for many, this justification is not enough.
It is indisputable that there is a place for governmental funding of the arts. Yet many have raised the point that a significant number of young, up-and-coming, Irish-based artists could have had their projects
funded with the money spent on the Cézanne piece. Not to mention that, in the midst of Ireland's current homelessness crisis, many would consider such a significant amount of taxpayer money being spent on a single painting as irresponsible.
Yet the concerns are not purely financial. In 2019 the gallery stated that they wished to prioritise the acquisition of works by female artists after the realisation of the significant gender imbalance in the gallery’s more than 16,000 work collection. This sentiment was only further enforced by Dr Caroline Campbell when she was elected the first female director of the National Gallery of Ireland in 2022. The presence of women has been felt in the National Gallery recently, with 2023 seeing the exhibitions Lavinia Fontana: Trailblazer, Rule Breaker and It Took a Century: Women Artists and the RHA. The purchasing of Rachel Ruysch’s Vase of Flowers with an Ear of Corn, 1742, as well as Hannah Höch’s Duft, 1937, last year was in line with the gallery's policy. The purchase of La Vie des Champs seems to some in complete contradiction to the actions that the gallery themselves stated they wished to follow.
Finally, there seems to be confusion about the status of the piece in relation to the pre-existing collection. The Irish Times, along with several other publications, hailed the Cézanne work purchased in 2023 as the National Galleries' first work by the artist. This is in fact untrue. It is the case that La Vie des Champs is the first Cézanne oil painting purchased by the gallery. Yet, in the gallery’s prints and drawings department, there is an unfinished Cézanne watercolour, believed to be the beginning of a study of Mont Sainte-Victoire; of which the artist later created a finished version. The watercolour was given to the gallery by Sir Alfred Chester Beatty in 1954.
Regardless of the controversy, Paul Cézanne’s La Vie des Champs is still a significant piece of art that should be appreciated in its own right. It is on display in Rooms 1-5 of the National Gallery of Ireland’s Millennium Wing.
Friday the 12th of May, 2023, saw the unveiling of Paul Cézanne’s La Vie des Champs (Life in the Fields) at the National Gallery of Ireland. Since its reveal almost a year ago, the painting, and the circumstances in which the gallery has come into possession of the piece, have not escaped controversy.
The work was completed in 1877 in Cézanne’s native Provence, in Southern France; although the artist most likely completed studies for the picture, the scene itself is probably one of his imagination. The National Gallery describes that piece as a “vibrant, imaginary landscape”, with the woman in the centre of the composition carrying a water jug on her head. A horse, two men, and one woman flank her along with framing trees. Painted the year that Cézanne reentered the impressionist exhibitions after a three-year hiatus, the painting highlights a pivotal moment in the artist's career where he began to develop his signature style. A clear departure from the darker and thicker paint application - as seen in pieces such as1871’s La Promenade, - La Vie des Champs shows a move to a lighter, more colourful palette, his parallel vertical brush strokes especially visible in the lush greenery that dominates the scene. The work also shows a clear interest in perspective as indicated by the looming architectural feature in the centre background of the piece. Both such elements became essential components of his later style.
It is true that the purchase of the newly acquired Cézanne work acts as a significant contribution to the collection of late nineteenth-century works at the National Gallery of Ireland. However, not everyone is convinced that the National Gallery was justified in its purchase. Although the exact price of the piece is unconfirmed, what is known to be true is that the National Gallery of Ireland sought €2 million from the Irish government for the purchase of this art piece. The full amount was not granted, but the Government of Ireland still contributed €1.85 million towards the cost of the piece, an amount which was then supplemented by a “major private philanthropic donation”, hence why the price of the piece is still under wraps; The National Gallery says that the benefactor was given “strict assurances” that the donation would be kept “wholly confidential”. Finally, a small sum was contributed by the National Gallery itself, “not expected to exceed €150,000.” Despite the fact that the final cost is not known to the public, it is indisputable that the artwork cost the gallery, a private donor, and the Government of Ireland—hence the Irish public—a significant amount of money. The gallery is careful to point out on its webpage relating to the acquisition of the piece, that the picture now belongs to the people of Ireland. The National Gallery also appears confident in its statements that the piece will instantly become a staple of the collection and will over time become a favourite of the public. Yet for many, this justification is not enough.
It is indisputable that there is a place for governmental funding of the arts. Yet many have raised the point that a significant number of young, up-and-coming, Irish-based artists could have had their projects
funded with the money spent on the Cézanne piece. Not to mention that, in the midst of Ireland's current homelessness crisis, many would consider such a significant amount of taxpayer money being spent on a single painting as irresponsible.
Yet the concerns are not purely financial. In 2019 the gallery stated that they wished to prioritise the acquisition of works by female artists after the realisation of the significant gender imbalance in the gallery’s more than 16,000 work collection. This sentiment was only further enforced by Dr Caroline Campbell when she was elected the first female director of the National Gallery of Ireland in 2022. The presence of women has been felt in the National Gallery recently, with 2023 seeing the exhibitions Lavinia Fontana: Trailblazer, Rule Breaker and It Took a Century: Women Artists and the RHA. The purchasing of Rachel Ruysch’s Vase of Flowers with an Ear of Corn, 1742, as well as Hannah Höch’s Duft, 1937, last year was in line with the gallery's policy. The purchase of La Vie des Champs seems to some in complete contradiction to the actions that the gallery themselves stated they wished to follow.
Finally, there seems to be confusion about the status of the piece in relation to the pre-existing collection. The Irish Times, along with several other publications, hailed the Cézanne work purchased in 2023 as the National Galleries' first work by the artist. This is in fact untrue. It is the case that La Vie des Champs is the first Cézanne oil painting purchased by the gallery. Yet, in the gallery’s prints and drawings department, there is an unfinished Cézanne watercolour, believed to be the beginning of a study of Mont Sainte-Victoire; of which the artist later created a finished version. The watercolour was given to the gallery by Sir Alfred Chester Beatty in 1954.
Regardless of the controversy, Paul Cézanne’s La Vie des Champs is still a significant piece of art that should be appreciated in its own right. It is on display in Rooms 1-5 of the National Gallery of Ireland’s Millennium Wing.
