Paper
Name Class Date

Chaim Soutine, Landscape at Céret [Paysage à Céret] (1922), Nagoya City Art Museum. Public domain. See this canvas under a moving light: the drawing, the true colour under the varnish, the bare pigment

The facts

Artist
Chaim Soutine originaluniqueart.com/en/artists/chaim-soutine/
Artist’s dates
1894 – 1943
Painted
1922
Original size
79 x 87 cm
Movement
Expressionism Colour and shape deliberately distorted so the picture shows an emotion rather than a likeness.
Period
Modern
Held at
Nagoya City Art Museum originaluniqueart.com/en/museums/nagoya-city-art-museum-nagoya/
Artistic style
Figurative
Influences
Post-Impressionism
Notable elements
Dancing brushstrokes
Subject or theme
Landscape

In context

Landscape at Céret [Paysage à Céret] — Chaim Soutine

How big is it?

The original measures 79 × 87 cm (height × width), drawn here beside an adult of average height.

When was this painted?

  1. 1890
  2. 1900
  3. 1910
  4. 1920
  5. 1930
  6. 1940

Row above: the years. Row below: how old the artist was at the start and at the end of each span — 0 at birth, 49 at death.

Painted when the artist was 28. The artist lived to 49. 15 of the 28 dated works by this artist in our catalogue came earlier.

Shaded: the lifetime of Chaim Soutine (1894–1943) ▲ this work, 1922 every dated painting, decade by decade

First works: up to 1919 Main working years: 1919–1925 Late works: from 1925

Those three bands split the works this catalogue has a date for into a first quarter, a middle half and a last quarter. They are not the artist’s complete output: a thin stretch may be a gap in the record rather than a quiet spell. The same years with the artist’s life laid along them

Compare with

Pick one work above: name two things it shares with this one, and one thing that's different.

More works to set beside this one: originaluniqueart.com/en/art/similar/chaim-soutine-landscape-at-ceret-paysage-a-ceret-D3XLPD-en/

Colours

Measured from the image

    Main colour

    Sap Green #786b3e

    Catalogued palette

    • #786B3E
    • #33413D
    • #575740
    • #918761

    These colours inside the artist’s whole palette Find other paintings by colour

    Main colour name
    Sap Green
    Intensity
    Balanced How saturated and varied the colours are, from a single toned-down hue to many bright ones.
    Contrast
    Serene How much the colours differ in lightness and saturation across the picture.
    Harmony
    Strong Color Unity How well the colours work together, from clashing to fully unified.
    Brightness
    Shadow How light or dark the picture reads overall, from deep shadow to bright highlight.
    Saturation
    Subtle Color How pure and strong the colours are, from near-grey to fully vivid.

    Where in the world is this painting looked at?

    • under 1%
    • 1–3%
    • 3–8%
    • 8–20%
    • 20% and over
    This painting alone has too few recorded visitors to map, so the plate reads every work by Chaim Soutine over the last twelve months — 9 countries in all. Where these figures come from

    The ten leading countries

    1. 1 China 66.7%3,400 visits
    2. 2 United States of America 9.8%500 visits
    3. 3 Italy 7.8%400 visits
    4. 4 Spain 3.9%200 visits
    5. 5 Finland 3.9%200 visits
    6. 6 Argentina 2.0%100 visits
    7. 7 France 2.0%100 visits
    8. 8 Hong Kong 2.0%100 visits
    9. 9 Mexico 2.0%100 visits

    Find the three darkest countries on the map. Is the museum that keeps this painting in any of them? Write down one reason people far away might look at it.

    The 20 most looked-at works by Chaim Soutine

    1. 1 The old mill 9.9%700 visits
    2. 2 Return from School After the Storm 8.5%600 visits
    3. 3 Untitled (1411) 7.0%500 visits
    4. 4 Portrait of Emile Lejeune, 1925 5.6%400 visits
    5. 5 (Carcass of beef) Minneapolis Institute of Arts, 1926 5.6%400 visits
    6. 6 untitled (4171) 4.2%300 visits
    7. 7 Still Life with Fowl [Nature Morte à La Volaille], 1918 2.8%200 visits
    8. 8 Servant Girl in Blue, 1934 2.8%200 visits
    9. 9 untitled (3759) 2.8%200 visits
    10. 10 untitled (3714) 2.8%200 visits
    11. 11 untitled (5980) 2.8%200 visits
    12. 12 untitled (1693) 2.8%200 visits
    13. 13 untitled (5106) 2.8%200 visits
    14. 14 untitled (2219) 2.8%200 visits
    15. 15 untitled (8701) 2.8%200 visits
    16. 16 Landscape at Céret [Paysage à Céret], 1922 this painting 1.4%100 visits
    17. 17 Landscape with trees in the wind, 1919 1.4%100 visits
    18. 18 Jeune Servante (Waiting Maid, also known as La Soubrette), 1933 1.4%100 visits
    19. 19 Hanging Duck, 1925 1.4%100 visits
    20. 20 Ceret Landscape, 1920 1.4%100 visits

    Together these works take 73.0% of all the attention this artist's paintings received over the last twelve months. The catalogue holds 71 works by this artist, of which 39 were looked at at least once. This painting ranks 16 of them, with 1.4% of that attention (100 visits). The same counts, month by month

    Bars measure attention, not quality. Pick the work at the top and this one: name one thing that might make a painting famous beyond how well it is painted.

    About this artwork

    Landscape at Céret [Paysage à Céret] — Chaim Soutine

    Landscape at Céret by Chaim Soutine: A Vision of Turbulent Beauty

    Chaim Soutine’s “Landscape at Céret” is more than just a depiction of a Pyrenean hillside; it's a visceral expression of the artist’s inner turmoil and a testament to his singular artistic vision. Painted in 1922, during a pivotal period of his career, this work embodies the raw emotion that would come to define Soutine’s oeuvre – a style characterized by intensely expressive brushwork, distorted forms, and a profound engagement with the psychological landscape.

    Subject Matter: The painting presents a dramatic mountain scene dominated by gnarled trees ablaze with autumnal hues. A small village nestles amongst the foliage, adding a touch of human presence to the otherwise imposing natural world.

    Historical Context: Soutine’s time in Céret was profoundly influential. Following World War I, he sought refuge and creative renewal in this region, a place already associated with artistic innovation – notably, the Cubist explorations of Picasso and Braque. His relationship with art dealer Zachari Zborowski proved crucial to his success, providing both support and access to the Parisian art market.

    A Style Forged in Emotion: Soutine’s Technique

    Soutine's technique is immediately arresting. He employs a dynamic, almost violent brushstroke – thick impasto applied with a frenetic energy that seems to capture the very essence of movement and instability. The trees aren’t rendered realistically; instead, they are monumentalized, their branches twisting and reaching like tormented limbs. This distortion isn't merely stylistic; it reflects Soutine’s emotional state, his struggle to reconcile beauty with suffering.

    Impasto Technique: The heavy application of paint (impasto) creates a tactile surface, inviting the viewer to engage physically with the artwork.

    Color Palette: Dominated by yellows, ochres, and browns, the color palette evokes a sense of heat, intensity, and perhaps even decay – mirroring the themes of mortality and transformation often present in Soutine’s work.

    Brushwork: The swirling, directional brushstrokes create a powerful sense of movement and energy, drawing the eye across the canvas and contributing to the painting's overall feeling of unease.

    Symbolism and Emotional Resonance

    "Landscape at Céret" is laden with symbolic weight. The towering trees can be interpreted as representing both strength and vulnerability, while the solitary figure gazing out towards the viewer suggests a sense of isolation and contemplation. The chaotic arrangement of elements – the distorted forms, the intense colors – reflects Soutine’s own psychological state, hinting at the anxieties and uncertainties that permeated his life. The painting speaks to themes of memory, loss, and the struggle for meaning in a world often perceived as hostile or absurd.

    Interpretation: The scene can be seen as a reflection of Soutine's own emotional landscape – turbulent, passionate, and deeply personal.

    Human Element: The presence of the figure adds another layer of complexity, inviting viewers to consider their own relationship with nature and the act of observation.

    Dimensions & Details

    This exceptional reproduction captures every nuance of Soutine’s original masterpiece. The dimensions are 79 x 87 cm (31 ¼ x 34 ¼ inches), making it suitable for a variety of interior spaces. Produced using high-quality materials, this hand-painted reproduction offers an authentic representation of this iconic work, ensuring that its beauty and emotional power will be enjoyed for generations to come.

    Artist and museum

    Artist

    Chaim Soutine

    Born in Smilovichi, Russia

    A Life Forged in Turmoil: The World of Chaim Soutine

    Born into a large, impoverished Jewish family in Smilovichi, Russia (present-day Belarus) in 1893, Chaim Soutine’s early life was steeped in hardship. This formative experience—a childhood marked by both material scarcity and the restrictions imposed upon his Orthodox community—would profoundly shape his artistic vision. Though figural representation was discouraged within his religious upbringing, a nascent talent for drawing blossomed nonetheless, hinting at the passionate intensity that would come to define his work. He received formal training at an art academy in Vilna (now Vilnius, Lithuania) from 1910 to 1913, but it was his emigration to Paris in 1913 that proved truly pivotal. Enrolling at the École des Beaux-Arts under Fernand Cormon, Soutine found himself amidst a vibrant artistic community, yet he remained largely outside of prevailing trends, forging a path uniquely his own. His initial years in Paris were characterized by extreme poverty, a struggle that mirrored the emotional turbulence simmering beneath the surface of his canvases.

    An Expressionist Apart: Style and Influences

    While often categorized as an Expressionist, to label Soutine solely within this framework feels limiting. His style was profoundly individual, a compelling synthesis of traditional European painting—particularly the Dutch Masters like Rembrandt and Chardin, and the Realism of Courbet—filtered through a lens of raw emotional intensity. He didn’t simply mimic these masters; he absorbed their techniques and compositional strategies, then violently reinterpreted them to convey his own inner world. Bold colors, applied with thick impasto – a textured application of paint that gives his surfaces a palpable physicality – and agitated brushwork are hallmarks of his style. Soutine wasn’t interested in precise representation; he sought to capture the emotional essence of his subjects, often imbuing them with a sense of unease or psychological tension. Landscapes, portraits, and still lifes became his preferred vehicles for this exploration, recurring themes like food and animals reflecting both personal experiences and his Jewish heritage. These weren’t merely depictions; they were visceral expressions of feeling, painted with an almost desperate energy.

    Development and Defining Works

    Soutine's artistic development unfolded through distinct periods, each marked by unique stylistic explorations. The early Parisian years (1913-1917) saw him grappling with his voice amidst financial hardship. The period spent in Céret between 1919 and 1922 proved crucial. It was here, surrounded by the dramatic landscapes of southern France, that he produced many of his most celebrated works. These paintings are characterized by vibrant colors, distorted forms, and a sense of almost violent energy. Trees, cliffs, and fields become swirling masses of paint, reflecting not just what Soutine saw but how he felt in their presence. His portraits, too, stand apart for their psychological depth. He often depicted working-class individuals with a raw honesty that challenged conventional portraiture, revealing the dignity and vulnerability of his subjects. Similarly, his still lifes—arrangements of food and objects—convey a sense of vitality, but also an unsettling energy, as if even inanimate objects are imbued with life and emotion. Notable works from this period include studies related to “The Dance of Life,” alongside numerous landscapes capturing the essence of Céret, and poignant portraits of Russian émigrés in Paris.

    Recognition, Legacy, and Lasting Impact

    Soutine was a key figure within the School of Paris, a diverse group of artists working in the city during the early 20th century. However, his path to recognition wasn’t straightforward. The art dealer Leopold Zborowski played an instrumental role in promoting Soutine's work and securing his financial stability, recognizing the unique power of his vision. Initial critical reception was mixed, but his reputation grew steadily over time. His expressive use of paint and emotional intensity profoundly influenced later artists, including Willem de Kooning and Francis Bacon, who saw in Soutine a kindred spirit—an artist willing to push the boundaries of representation in pursuit of authentic expression. Today, Chaim Soutine is rightfully recognized as a major figure in Expressionism and a significant contributor to 20th-century art. His works are held in prestigious museums worldwide, testaments to his enduring legacy. He represents a crucial bridge between traditional European painting techniques and the emerging forms of Abstract Expressionism, prioritizing emotional expression over objective representation and developing an artistic voice that transcended typical Expressionist concerns. His innovative style paved the way for future generations of artists seeking to explore the depths of human emotion through the power of paint.

    Museum

    Nagoya City Art Museum

    On show in Nagoya, Japan

    A Sanctuary of Steel and Soul: Exploring the Nagoya City Art Museum

    Nestled within the vibrant heart of Nagoya, Japan, the Nagoya City Art Museum isn’t merely a repository for artistic treasures; it's an architectural statement, a testament to visionary design, and a living embodiment of cultural exchange. Conceived by the groundbreaking architect Kisho Kurokawa – famed for his “sensitive buildings” that blur the lines between structure and landscape – the museum opened its doors in 1987, immediately establishing itself as a landmark both aesthetically and conceptually. More than just a building housing art, it’s an artwork in itself, designed to invite contemplation and foster a profound connection with the creative spirit.

    The museum's design is instantly arresting. Kurokawa masterfully employed a flowing, organic form that echoes the undulating curves of the surrounding landscape – a deliberate choice meant to dissolve the boundaries between interior and exterior space. The structure’s seemingly weightless appearance belies its robust steel frame, creating an intriguing juxtaposition of strength and fluidity. Large expanses of glass flood the galleries with natural light, further enhancing the sense of openness and inviting visitors into a realm where art and nature coexist harmoniously. Stepping inside is akin to entering a carefully curated sanctuary, a space designed for quiet reflection and immersive engagement.

    Echoes of Paris and Mexico: A Diverse Collection

    The museum’s collection is remarkably diverse, reflecting a deep commitment to showcasing both international masters and the rich artistic heritage of Japan. Perhaps most immediately captivating are its impressive holdings from the École de Paris, a pivotal movement that revolutionized early 20th-century European art. Here, visitors can lose themselves in the vibrant colors and emotive brushstrokes of artists like Marc Chagall and Amedeo Modigliani – their works pulsating with the energy and experimentation of a period defined by profound cultural upheaval. These pieces offer a fascinating glimpse into the diverse styles and perspectives that flourished within this influential movement, showcasing a bold departure from traditional artistic conventions.

    However, the museum’s reach extends far beyond Europe. Equally significant is its collection of Mexican Renaissance art, a vibrant celebration of indigenous culture and national identity. Iconic works by Frida Kahlo and her contemporaries transport viewers to a world of potent symbolism and profound emotional depth – a world shaped by the complexities of revolution, social justice, and personal experience. The museum’s selection reveals the rich artistic heritage of Mexico and its unique response to cultural identity and political change, presenting a powerful dialogue between tradition and modernity.

    Celebrating Local Voices: Contemporary Japanese Art

    While internationally acclaimed artists are prominently featured, the Nagoya City Art Museum also champions contemporary Japanese art, with a particular focus on local talents. The museum recognizes the importance of nurturing artistic expression within its own community, providing a vital platform for emerging voices and established figures alike. Works by Yamamoto Kansuke, a surrealist painter deeply connected to the region, hold a special place within the collection. His evocative and dreamlike compositions offer a unique perspective on modern Japanese identity and artistic expression – often exploring themes of memory, isolation, and the subconscious.

    Beyond individual artists, the museum actively supports local art initiatives through rotating exhibitions and community programs. This dedication to showcasing local creativity underscores its commitment to fostering an environment where art thrives and new ideas are constantly being explored. The inclusion of contemporary pieces ensures that the museum remains dynamic and relevant, continually evolving with the changing landscape of art.

    A Living Cultural Hub: Exhibitions and Experiences

    The Nagoya City Art Museum is not simply a repository of static artworks; it’s a vibrant cultural hub that actively engages with its audience. Rotating exhibitions are meticulously curated to offer fresh perspectives on both established masters and emerging artists, often exploring specific themes or movements within art history. These temporary displays provide deeper insights into the world of art, sparking dialogue and encouraging critical thinking.

    Beyond the visual feast, the museum hosts a variety of special events throughout the year – artist talks, workshops, and cultural performances – enriching the visitor experience and fostering a strong sense of community. The serene gardens surrounding the building offer a tranquil space for reflection and contemplation after immersing oneself in the world of art, completing the holistic experience that defines the Nagoya City Art Museum. It’s an environment designed not just for viewing, but for experiencing art on a deeper level, fostering appreciation and understanding across generations.

    Where to read more

    Find this online

    QR code linking to the download page for Landscape at Céret [Paysage à Céret]

    originaluniqueart.com/en/art/download/chaim-soutine-landscape-at-ceret-paysage-a-ceret-D3XLPD-en/

    Cite this artwork

    MLA
    Soutine, Chaim. Landscape at Céret [Paysage à Céret]. 1922, Nagoya City Art Museum. https://originaluniqueart.com/en/art/chaim-soutine-landscape-at-ceret-paysage-a-ceret-D3XLPD-en/
    APA
    Soutine, Chaim (1922). Landscape at Céret [Paysage à Céret] [Painting]. Nagoya City Art Museum. https://originaluniqueart.com/en/art/chaim-soutine-landscape-at-ceret-paysage-a-ceret-D3XLPD-en/
    Chicago
    Chaim Soutine. Landscape at Céret [Paysage à Céret]. 1922. Nagoya City Art Museum. https://originaluniqueart.com/en/art/chaim-soutine-landscape-at-ceret-paysage-a-ceret-D3XLPD-en/
    Harvard
    Soutine, Chaim (1922) Landscape at Céret [Paysage à Céret]. Nagoya City Art Museum. Available at: https://originaluniqueart.com/en/art/chaim-soutine-landscape-at-ceret-paysage-a-ceret-D3XLPD-en/

    Look closely

    Landscape at Céret [Paysage à Céret] — Chaim Soutine

    Look closely

    Answer in your own words. There are no wrong answers here — only answers you can explain.

    1. What catches your eye first, and why?
    2. Which colours or shapes create the mood — and what is that mood?
    3. Our catalogue files this work under: landscape painting, chaim soutine, pyrenees region. Do you agree? What would you add, or take away?
    4. Look back at Hanging Duck (1925), earlier in this guide. Name two things it shares with this work, and one that is different.
    5. Expressionism: Colour and shape deliberately distorted so the picture shows an emotion rather than a likeness. Where can you see that in this work?

    Your response

    Write a short paragraph about this artwork. Use the facts from the earlier parts of this guide, and your answers above.

    Questions & Answers

    What is the recommended print size for "Landscape at Céret [Paysage à Céret]" by Chaim Soutine?

    "Landscape at Céret [Paysage à Céret]" is recommended at a large print size. Other sizes are available with the same proportions.

    How is "Landscape at Céret [Paysage à Céret]" situated historically?

    The art-historical classification of "Landscape at Céret [Paysage à Céret]" by Chaim Soutine is Expressionism, in the Modern period.

    Are the colors of "Landscape at Céret [Paysage à Céret]" by Chaim Soutine vivid or muted?

    "Landscape at Céret [Paysage à Céret]" by Chaim Soutine is recorded with a subtle color saturation and a balanced intensity.