Portrait of Madame Cezanne, c.1885/90 Paul Cezanne (1839-1906)

We create our paintings with museum quality and covering the highest academic standards. Once we get your order, it will be entirely hand-painted with oil on canvas. All the materials we use are the highest level, being totally artist graded painting materials and linen canvas.

We will add 1.6" (4 cm) additional blank canvas all over the painting for stretching.

High quality and detailing in every inch are time consuming. The reproduction of Paul Cezanne also needs time to dry in order to be completely ready for shipping, as this is crucial to not be damaged during transportation.
Based on the size, level of detail and complexity we need 8-9 weeks to complete the process.

In case the delivery date needs to be extended in time, or we are overloaded with requests, there will be an email sent to you sharing the new timelines of production and delivery.

TOPofART wants to remind you to keep patient, in order to get you the highest quality, being our mission to fulfill your expectations.

We not stretch and frame our oil paintings due to several reasons:
Painting reproduction is a high quality expensive product, which we cannot risk to damage by sending it being stretched.
Also, there are postal restrictions, regarding the size of the shipment.
Additionally, due to the dimensions of the stretched canvas, the shipment price may exceed the price of the product itself.

You can stretch and frame your painting in your local frame-shop.

Once the painting Portrait of Madame Cezanne is ready and dry, it will be shipped to your delivery address. The canvas will be rolled-up in a secure postal tube.

We offer free shipping as well as paid express transportation services.

After adding your artwork to the shopping cart, you will be able to check the delivery price using the Estimate Shipping and Tax tool.

The paintings we create are only of museum quality. Our academy graduated artists will never allow a compromise in the quality and detail of the ordered painting. TOPofART do not work, and will never allow ourselves to work with low quality studios from the Far East. We are based in Europe, and quality is our highest priority.

A pale oval of a face floats forward, steady as a stone. Around it, the room barely asserts itself – a murmur of brown-green on the left, a cooler wash of sky-blue on the right – as if Cézanne has decided that anything not essential can simply fall quiet.

Hortense Fiquet sits frontally, close enough that her shoulders press against the edges of our attention. Her dark hair is parted and smoothed into two weighty shapes, not fussy strands. That economy continues in the features: the eyes level and thoughtful, the mouth set with a small, almost pursed firmness. Yet the stillness isn’t blank. Look at the cheeks: a dusting of rose, then a faint, greener note by the jaw, as though air and shadow are being measured rather than described. One might imagine the long sittings she endured – not theatrical, just patient, the kind that leaves the room hushed.

Paint does a curious double act here. The face is built with gentle transitions, but the surface never becomes slick; you can sense the brush moving in short, careful runs, laying down tones that hold their own. A discovered detail: along the collar and upper chest, the strokes shift direction, knitting into a soft chevron-like pattern that gives the blouse a quiet weight, like cool cotton resting against the skin. Even the background has a worked, breathing quality – scumbled patches where warmer pigment and cooler pigment refuse to fully agree.

Cézanne once told Vollard that “the success of art is the face,” and you feel that conviction here. Depth barely matters; structure does. The head becomes an almost perfect form, simplified without being emptied. It’s easy to see why this kind of reduction points ahead to the 20th century – perhaps even to Brancusi’s purified heads – and why Matisse treasured the painting for its magnificent calm.

Stand with it a while and the emotion arrives not as drama, but as atmosphere: a sober tenderness, the stillness of a room where you can almost hear your own breath.