Mount Sainte-Victoire
c. 1904
Illustrative frame preview.
National Gallery of Art, WashingtonOriginal work, 1893/1895
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Paul Cézanne — The Peppermint Bottle Print
A tall bottle, glassware and fruit rise above a deeply folded cloth. Cézanne balances the cool blue-green setting with small notes of red and yellow across the tabletop.
A fine-art giclée reproduction on 200 gsm uncoated paper. The complete composition is presented with a white paper border. Choose from the available sizes and unframed or framed finishes.
£29.00
From museum archives. No recolouring, retouching or AI enhancement.
UK delivery. Unframed £4.99, free from £50. Wood-frame delivery included.
Paper, size & framing
Fine-art print on 200 gsm enhanced matte paper. Measurements are the paper dimensions, including the white border. Framing adds to the overall dimensions. The artwork keeps its approved composition within those margins. White, natural and dark wood frames are ready to hang with plexiglass.
Our print guideAbout the artwork
A tall bottle, glassware and fruit rise above a deeply folded cloth. Cézanne balances the cool blue-green setting with small notes of red and yellow across the tabletop.
A fine-art giclée reproduction on 200 gsm uncoated paper. The complete composition is presented with a white paper border. Choose from the available sizes and unframed or framed finishes.
- Artist
- Paul Cézanne
- Artwork
- Paul Cézanne — The Peppermint Bottle Print
- Date of work
- 1893/1895
- Museum collection
- National Gallery of Art, Washington
About Paul Cézanne
French · 1839–1906
Paul Cézanne was born in Aix-en-Provence, where his friendship with the future writer Émile Zola began at school. His family’s prosperity supported a serious education, but art drew him away from a conventional career. He spent time in Paris absorbing new painting, while repeatedly returning to the landscape and everyday objects of the south of France.
Contact with the Impressionists encouraged brighter colour and broken brushwork. Cézanne developed those discoveries into a slower investigation of form. Apples, figures and hills became arrangements of related colour, with each brushstroke contributing to the whole. His still lifes can feel unsettled and solid at once, asking us to consider the experience of looking rather than a single fixed viewpoint.
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