{"id":180754,"date":"2026-08-08T12:45:40","date_gmt":"2026-08-08T10:45:40","guid":{"rendered":"https:\/\/svetslik.si\/?post_type=product&p=180754"},"modified":"2026-08-08T12:46:28","modified_gmt":"2026-08-08T10:46:28","slug":"bowl-and-milk-jug","status":"publish","type":"product","link":"https:\/\/svetslik.si\/en\/paul-cezanne\/bowl-and-milk-jug\/","title":{"rendered":"Paul C\u00e9zanne \u2013 Bowl and Milk-Jug"},"content":{"rendered":"
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Bowl and Milk-Jug \u2013 a piece of a larger canvas<\/h2>\n

Two objects and nothing else: at the left a tall blue-grey milk pot with a lid, at the right a white bowl with an orange rim and green leaf sprigs, both on a warm ochre wooden surface, with a dark green plane behind. The canvas is tiny, measuring 20 \u00d7 18 cm, and is held by the Artizon Museum<\/strong> (Ishibashi Foundation) in Tokyo. The dating is not agreed: the catalogue raisonn\u00e9 gives about 1879, possibly earlier, while the museum itself proposes roughly 1873-1877. With us the painter\u2019s hand takes it over: a hand-painted painting on canvas<\/strong>, oil on canvas, stretched over a solid stretcher frame.<\/p>\n

The catalogue records it as a fragment<\/h3>\n

Among the technical data the catalogue raisonn\u00e9 adds a single word: fragment. This is not a small work but a piece cut out of a larger one. That is exactly why the format is so unusual \u2013 nearly square, a shade taller than it is wide \u2013 and exactly why the bowl at the right is not whole but cut off by the edge. What stood on the rest of the canvas the entry does not say, and we are not going to guess it.<\/p>\n

Two sides lined up with the edge<\/h3>\n

In its own description the museum points out something that is hard to unsee once you know it: the left side of the milk pot and the right side of the bowl are painted parallel to the left and right edges of the work. C\u00e9zanne, in other words, adjusted the shape of the objects a little so that the arrangement would stand more firmly. The round bowl therefore has one side that is not round \u2013 and the scene does not slide, although nothing in it is holding it.<\/p>\n

From Vollard\u2019s shop to Tokyo<\/h3>\n

The canvas passed through the hands of the Paris dealer Ambroise Vollard, then the collectors Georges Murat and Eug\u00e8ne Blot, later the Florentine Egisto Fabbri, who lent it to the Venice Biennale in 1920. In the end the Japanese industrialist Shojiro Ishibashi bought it, and the work ended up in the Bridgestone Museum in Tokyo. That institution was renamed the Artizon Museum in 2020 \u2013 which is why older books give a different museum for the same work.<\/p>\n

Because there are only two objects on the canvas, the work carries even very large sizes without ever looking crowded; on the contrary, the larger it gets, the more clearly you see how thickly the paint is laid on. The ochre and the dark green give it a quiet, almost wooden tone, suited to a hallway, a kitchen or a corner by the window. The fifteen sizes run from 41 \u00d7 45 cm to 163 \u00d7 180 cm, and in-between measurements we stretch to custom size<\/strong>. How it will look framed is shown by our 3D preview application<\/strong>. Among our art paintings on canvas<\/strong> it goes well with Still Life with Milk Jug and Fruit<\/a>, Ginger Pot with Pomegranate and Pears<\/a> and The Buffet<\/a>.<\/p>\n