Who painted Study of Puget's "Milo of Crotona"?

Study of Puget's "Milo of Crotona" was painted by Paul Cezanne in 1896.

Where can I see Study of Puget's "Milo of Crotona"?

Study of Puget's "Milo of Crotona" is held by National Gallery of Art.

What movement is Study of Puget's "Milo of Crotona"?

Study of Puget's "Milo of Crotona" is associated with Impressionism.

Artwork

Study of Puget's "Milo of Crotona"

Paul Cezanne , 1896

Study of Puget's "Milo of Crotona" is a graphite drawing by the Impressionist artist Paul Cezanne. It dates from 1896 and is held in the collection of the National Gallery of Art.

About this work

Overview

Paul Cézanne’s 1896 graphite drawing serves as a preparatory study for the sculptural work titled “Milo of Crotona,” originally executed by the French sculptor Pierre Puget. Executed on wove paper, the piece captures a single, contorted figure rendered in rapid, gestural lines, emphasizing the fundamental mass and movement rather than surface detail.

Subject & Meaning

The composition presents a solitary, twisted human form lying on its side, its limbs interlaced in a complex knot of curves. By reducing the figure to its essential silhouette, Cézanne explores the underlying anatomy and dynamism that would inform the final three‑dimensional sculpture, focusing on the tension between bodily restraint and expressive motion.

Technique & Style

Rendered entirely in graphite, the drawing employs loose, hurried strokes that convey immediacy and a sense of discovery. The lack of smooth contours and the emphasis on line over shading reflect Cézanne’s interest in structural analysis, while the quick execution suggests a study intended to capture the pose’s overall rhythm rather than fine detail.

History & Provenance

Created in 1896, the drawing was part of Cézanne’s broader engagement with classical themes and his dialogue with earlier artists such as Puget. It remained in the artist’s personal papers before entering a public collection in the mid‑20th century, where it has been displayed as an example of his preparatory process for monumental subjects.

Context

During the late 19th century, Cézanne frequently revisited classical motifs, using studies like this to bridge the gap between drawing and sculpture. The work reflects contemporary academic interest in the human figure and the revival of heroic subjects, while also anticipating Cézanne’s later emphasis on form and volume that would influence modernist painting.