Arnaud Marcel (1877–1956) “still Life With Fruit” And “still Life With Flowers” Aix Provence

ARNAUD Marcel (1877–1956)

"Still Life with a Pitcher and Fruit" and "Still Life with a Bouquet of Flowers"
Homage to Cézanne

Signed lower left,

A beautiful double-sided work by the Aix-en-Provence painter Marcel Arnaud, depicting a still life with a pitcher and fruit on one side and, on the other, a still life with a bouquet of flowers, pitchers, and a magnifying glass.

As is his custom, the artist uses vibrant colors for the main elements of his composition—the fruit and flowers—while keeping the background simple and understated. The artist employs a brushstroke technique that lends depth to the fruit.

This double-sided artwork allows you to choose your preferred composition depending on the season, without ever growing tired of it!

The Aix-born painter Joseph Ravaisou was one of the few privileged artists to accompany Cézanne on his plein air painting excursions. He had a decisive influence on Marcel Arnaud.
It was therefore primarily through the painter Ravaisou that Marcel Arnaud learned to appreciate Cézanne and to understand his innovative contribution. His influence can be seen in his still lifes of fruit.

A student of Louis Maistre at the École des Beaux-Arts in Marseille and an apprentice set designer at Apy & Parton, he moved to Paris at the age of 18. There he worked at Capezat and Thibé, created theater sets for Jusseaume, and studied the old masters at the Louvre.
In particular, he became acquainted with the sculptor Antoine Bourdelle.
Longing for his hometown, he returned to Marseille, where he married in 1904. He met the painter Paul Cézanne in Saint-Henri and painted several works there in Cézanne’s presence.
He exhibited in regional salons and was a member of the group “Le Cénacle,” founded by Valère Bernard.

In 1914, he was appointed professor at the School of Fine Arts in Aix-en-Provence and later served as its director from 1917 to 1946.  At the same time, he served as assistant curator of the city’s Musée Granet in 1922 and then as curator from 1926 to 1947.
At the same time, Marcel Arnaud refused to sell his entire body of completed works to the famous art dealer Ambroise Vollard, who had made a private request for them. His friend John Rewald supported him on this point, writing: “Marcel Arnaud brings to painting the Cézannian continuity that time did not allow Paul Cézanne to achieve.” The numerous letters exchanged between Paul Cézanne and Marcel Arnaud are, in fact, in John Rewald’s possession.

These activities did not prevent him from painting or exhibiting in galleries in Marseille or Aix-en-Provence. His last solo exhibition took place in 1955, three months before his death.
He was made a Knight of the Legion of Honor.

Dimensions: 58 x 81 cm unframed and 68.5 x 91.5 cm with its original wooden frame.