The drawing Mercury (after Pigalle), created by Paul Cézanne French, 1839-1906, between 1885 and 1895, offers profound insight into the artist's rigorous study of classical sculptural form. Executed on ivory wove paper, this work is technically complex, demonstrating a dual approach: the recto side utilizes graphite primarily to define line and volume, while the verso side explores the subject further in graphite with subtle touches of watercolor. This application of watercolor on the reverse highlights Cézanne's experimental method for understanding modeling and light, bridging his techniques in drawing and painting.
Cézanne’s lifelong practice involved copying masterworks to dissect and reconstruct three-dimensional structures onto a two-dimensional plane. By choosing to study Jean-Baptiste Pigalle's celebrated 18th-century sculpture of the classical messenger god, the artist transformed a neoclassical ideal into a foundational study of mass and structure. The analytical method is evident in the varied pressure and directional hatching of the graphite, demonstrating the underlying geometrical scaffolding Cézanne sought in all subjects. As a significant drawing from a major figure in Post-Impressionist France, this piece is part of the distinguished permanent collection of the Art Institute of Chicago. High-quality prints of this important work are commonly made available through public domain initiatives by the museum.
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