In the Footsteps of Paul C茅zanne (Self Guided), Aix-en-Provence
Paul C茅zanne, often called the 鈥渇ather of modern art鈥� for bridging 19th-century post-impressionism and the birth of early modernism, caused a bit of a stir early in his career. While staying with Doctor Gachet in Auvers-sur-Oise, he painted his take on Manet鈥檚 Olympia鈥攂ut with a twist. Instead of just a reclining nude, C茅zanne inserted himself into the scene, back turned, like a shy admirer interrupting a muse. At the time, Paris wasn鈥檛 impressed. His banker father wasn鈥檛 either鈥攈e鈥檇 hoped Paul might choose deposits over brushstrokes.
But C茅zanne stayed loyal to his muse. Born in Aix-en-Provence in 1839, he entered Saint Joseph School at ten, then moved on to Coll猫ge Bourbon鈥攏ow Coll猫ge Mignet鈥攚here he befriended 脡mile Zola and Baptistin Baille. The three were inseparable: a future novelist, a scientist, and a painter with a knack for rebellion. C茅zanne also studied drawing at the Municipal School and the School of Design at the Granet Museum, sharpening his skills in between existential doubt and watercolor sessions.
The house where he was born still stands at 28 Opera street. You can鈥檛 go inside, but a modest plaque gives a respectful nod. His second childhood home on Matheron street is nearby, and his final address at 23 Boulegon street leads up to his cherished studio on Lauves Hill. That studio is frozen in time: brushes still out, canvases still waiting, and the light still exactly as he liked it.
The trail through Aix is marked with brass plaques in the pavement鈥擟茅zanne鈥檚 unofficial breadcrumb trail. You鈥檒l pass his statue near the Fountain of the Rotunda, looking calm, possibly smug, now that the city鈥檚 caught up to his genius. Keep going and you鈥檒l reach Aix Cathedral, a patchwork of Romanesque, Gothic, and Baroque architecture that C茅zanne often painted from the outside but rarely ventured into.
Other meaningful stops include the Church of the Madeleine, where he was baptized; the Town Hall, where he married Hortense Fiquet; and his longtime family home at Jas de Bouffan.
C茅zanne passed away in 1906. He鈥檚 buried at Saint-Pierre Cemetery, where quiet visitors still come to pay respects鈥攏ot just to a painter, but to a stubborn, brilliant force who never really left Aix.
So while looking for C茅zanne's footsteps, pause where he paused. Let the rooftops, the orchards, and the light do what they鈥檝e always done鈥攇ive inspiration to those paying attention.
But C茅zanne stayed loyal to his muse. Born in Aix-en-Provence in 1839, he entered Saint Joseph School at ten, then moved on to Coll猫ge Bourbon鈥攏ow Coll猫ge Mignet鈥攚here he befriended 脡mile Zola and Baptistin Baille. The three were inseparable: a future novelist, a scientist, and a painter with a knack for rebellion. C茅zanne also studied drawing at the Municipal School and the School of Design at the Granet Museum, sharpening his skills in between existential doubt and watercolor sessions.
The house where he was born still stands at 28 Opera street. You can鈥檛 go inside, but a modest plaque gives a respectful nod. His second childhood home on Matheron street is nearby, and his final address at 23 Boulegon street leads up to his cherished studio on Lauves Hill. That studio is frozen in time: brushes still out, canvases still waiting, and the light still exactly as he liked it.
The trail through Aix is marked with brass plaques in the pavement鈥擟茅zanne鈥檚 unofficial breadcrumb trail. You鈥檒l pass his statue near the Fountain of the Rotunda, looking calm, possibly smug, now that the city鈥檚 caught up to his genius. Keep going and you鈥檒l reach Aix Cathedral, a patchwork of Romanesque, Gothic, and Baroque architecture that C茅zanne often painted from the outside but rarely ventured into.
Other meaningful stops include the Church of the Madeleine, where he was baptized; the Town Hall, where he married Hortense Fiquet; and his longtime family home at Jas de Bouffan.
C茅zanne passed away in 1906. He鈥檚 buried at Saint-Pierre Cemetery, where quiet visitors still come to pay respects鈥攏ot just to a painter, but to a stubborn, brilliant force who never really left Aix.
So while looking for C茅zanne's footsteps, pause where he paused. Let the rooftops, the orchards, and the light do what they鈥檝e always done鈥攇ive inspiration to those paying attention.
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In the Footsteps of Paul C茅zanne Map
Guide Name: In the Footsteps of Paul C茅zanne
Guide Location: France » Aix-en-Provence (See other walking tours in Aix-en-Provence)
Guide Type: Self-guided Walking Tour (Sightseeing)
# of Attractions: 8
Tour Duration: 2 Hour(s)
Travel Distance: 3.0 Km or 1.9 Miles
Author: DanaOffice
Sight(s) Featured in This Guide:
Guide Location: France » Aix-en-Provence (See other walking tours in Aix-en-Provence)
Guide Type: Self-guided Walking Tour (Sightseeing)
# of Attractions: 8
Tour Duration: 2 Hour(s)
Travel Distance: 3.0 Km or 1.9 Miles
Author: DanaOffice
Sight(s) Featured in This Guide:
- Statue de Paul Cezanne (Statue of Paul Cezanne)
- Coll猫ge Mignet (Mignet College)
- Musee Granet (Granet Museum)
- Maison Natale de Cezanne (Cezanne's Birth House)
- Eglise de la Madeleine (Church of the Madeleine)
- H么tel de Ville d'Aix-en-Provence (Town Hall)
- Cathedrale Saint-Sauveur d'Aix-en-Provence (Aix Cathedral)
- Atelier de Cezanne (Cezanne's Studio)
1) Statue de Paul Cezanne (Statue of Paul Cezanne)
At the edge of Aix鈥檚 bustling Rotunda, a bronze figure keeps quiet watch鈥擯aul C茅zanne, rendered with character. He鈥檚 not striking a grand pose or draped in laurels. Instead, he鈥檚 in his usual work jacket, boots laced for walking, hat pulled low over his brow, like he's halfway between a hike and a painting session. Backpack slung and walking stick in hand, he could be sizing up a canvas鈥攐r just deciding where to eat.
Sculpted by Dutch artist Gabriel Sterk鈥攚ho clearly knew how to channel admiration without getting too sentimental鈥攖he statue was gifted to the city in 2006 for the centenary of C茅zanne鈥檚 death. At over six feet tall, it鈥檚 not trying to impress with sheer size. It鈥檚 the posture that sticks with you: still, observant, ready to move.
Born in Aix in January 1839, C茅zanne left his brushstrokes all over the history of modern art. Though often grouped with the Impressionists, he didn鈥檛 quite follow their rules鈥攈e preferred geometry to fleeting light and was more about structure than shimmer. His style helped bridge the classical with the abstract, laying the groundwork for post-impressionism and even cubism.
Among his most famous obsessions was Mountain Saint-Victoire, that stubbornly present mountain just outside Aix. He painted it dozens of times, as if chasing its shifting form could explain everything. Today, they call him the Father of Modern Art鈥攏ot because he tried to change the course of painting, but because he did it anyway.
Sculpted by Dutch artist Gabriel Sterk鈥攚ho clearly knew how to channel admiration without getting too sentimental鈥攖he statue was gifted to the city in 2006 for the centenary of C茅zanne鈥檚 death. At over six feet tall, it鈥檚 not trying to impress with sheer size. It鈥檚 the posture that sticks with you: still, observant, ready to move.
Born in Aix in January 1839, C茅zanne left his brushstrokes all over the history of modern art. Though often grouped with the Impressionists, he didn鈥檛 quite follow their rules鈥攈e preferred geometry to fleeting light and was more about structure than shimmer. His style helped bridge the classical with the abstract, laying the groundwork for post-impressionism and even cubism.
Among his most famous obsessions was Mountain Saint-Victoire, that stubbornly present mountain just outside Aix. He painted it dozens of times, as if chasing its shifting form could explain everything. Today, they call him the Father of Modern Art鈥攏ot because he tried to change the course of painting, but because he did it anyway.
2) Coll猫ge Mignet (Mignet College)
Mignet College may sound like just another school, but dig a little deeper and you鈥檒l find layers of history thicker than a stack of report cards. It sits on Cardinal Street in Aix鈥檚 refined Mazarin district and owes its name to 19th-century historian Fran莽ois-Auguste Mignet.
Originally approved as a royal college in 1603 by King Henri IV, it started off under the scholarly gaze of the Jesuits. When they were disbanded in 1773, the Doctrinaire Fathers stepped in, until they too were shown the door during the Revolution. The curriculum changed, and so did the management鈥攎ore than once.
It reopened during the Napoleonic shuffle, briefly bore the monarchical badge as 鈥淏ourbon College,鈥� and eventually landed in city hands by 1878. By then, it had been housed in not one but two former convents鈥擝enedictine and Ursuline鈥攕titched together to form its current facade. That architectural patchwork still stands today, with parts declared historic monuments, including the Benedictine entrance and a grand staircase that probably saw more teenage drama than a school play.
As for the alumni list, it reads like a name-dropper鈥檚 dream. You鈥檝e got scientist Jean-Baptiste Baille, composer Darius Milhaud, literary giant Emile Zola, and of course, Paul C茅zanne鈥攚ho managed to graduate in 1858 with the teacherly praise of 鈥渜uite well.鈥� Zola and C茅zanne were such close friends back then, they were dubbed 鈥淭he Inseparables,鈥� though only one of them went on to revolutionize the art world.
So yes, it鈥檚 just a school building鈥攂ut one that鈥檚 quietly carried centuries of teaching, talent, and the occasional philosophical meltdown over final exams.
Originally approved as a royal college in 1603 by King Henri IV, it started off under the scholarly gaze of the Jesuits. When they were disbanded in 1773, the Doctrinaire Fathers stepped in, until they too were shown the door during the Revolution. The curriculum changed, and so did the management鈥攎ore than once.
It reopened during the Napoleonic shuffle, briefly bore the monarchical badge as 鈥淏ourbon College,鈥� and eventually landed in city hands by 1878. By then, it had been housed in not one but two former convents鈥擝enedictine and Ursuline鈥攕titched together to form its current facade. That architectural patchwork still stands today, with parts declared historic monuments, including the Benedictine entrance and a grand staircase that probably saw more teenage drama than a school play.
As for the alumni list, it reads like a name-dropper鈥檚 dream. You鈥檝e got scientist Jean-Baptiste Baille, composer Darius Milhaud, literary giant Emile Zola, and of course, Paul C茅zanne鈥攚ho managed to graduate in 1858 with the teacherly praise of 鈥渜uite well.鈥� Zola and C茅zanne were such close friends back then, they were dubbed 鈥淭he Inseparables,鈥� though only one of them went on to revolutionize the art world.
So yes, it鈥檚 just a school building鈥攂ut one that鈥檚 quietly carried centuries of teaching, talent, and the occasional philosophical meltdown over final exams.
3) Musee Granet (Granet Museum) (must see)
Henri Pointier, curator of the Aix museum from 1892 to 1925, was no fan of C茅zanne. In fact, he reportedly swore the painter鈥檚 work would only hang there 鈥渙ver my dead body.鈥� Wish granted: Pointier died in 1949, and within months, the museum started collecting C茅zannes like overdue apologies. That same year, it also rebranded as Granet Museum, in honor of local artist and major benefactor Fran莽ois-Marius Granet.
The museum itself occupies the former priory of Saint John's Church and still shares a peaceful garden with the neighboring church鈥攁 rare case of art and religion staying civil. In 2009, it mounted a centenary exhibition of C茅zanne鈥檚 death, turning the whole affair into poetic payback.
Among the collection: works by Ingres (his thunderous Jupiter and Thetis included), a self-portrait by Rembrandt, pieces by Van Dyck, Giacometti, and yes, C茅zanne鈥攆ront and center at last.
In 2011, the Jean and Suzanne Planque Foundation kicked off a long-term show at the museum with over 180 works from the late Swiss collector鈥檚 archive. Eventually topping 300 pieces, the collection includes heavy-hitters like Degas, Renoir, Monet, Van Gogh, Picasso and Dubuffet. The ensemble now lives in a dedicated annex: the beautifully repurposed Chapel of the White Penitents鈥攚here penance meets prestige.
The museum itself occupies the former priory of Saint John's Church and still shares a peaceful garden with the neighboring church鈥攁 rare case of art and religion staying civil. In 2009, it mounted a centenary exhibition of C茅zanne鈥檚 death, turning the whole affair into poetic payback.
Among the collection: works by Ingres (his thunderous Jupiter and Thetis included), a self-portrait by Rembrandt, pieces by Van Dyck, Giacometti, and yes, C茅zanne鈥攆ront and center at last.
In 2011, the Jean and Suzanne Planque Foundation kicked off a long-term show at the museum with over 180 works from the late Swiss collector鈥檚 archive. Eventually topping 300 pieces, the collection includes heavy-hitters like Degas, Renoir, Monet, Van Gogh, Picasso and Dubuffet. The ensemble now lives in a dedicated annex: the beautifully repurposed Chapel of the White Penitents鈥攚here penance meets prestige.
4) Maison Natale de Cezanne (Cezanne's Birth House)
Paul C茅zanne was born on January 19th, 1839, in Aix-en-Provence鈥攂ack when opera wasn鈥檛 just a street name but a sign you might be doing well. His father, Louis-Auguste C茅zanne, started out as a hatter and worked his way up to banker. His mother, Elisabeth-Honorine Aubert, rounded out the household at 28 Opera street, where young Paul spent his early years sketching.
By 1844, the family had moved to 14 Icehouse Road. That鈥檚 where the paperwork for his parents鈥� marriage turned up, listing Louis-Auguste as a former milliner who had moved on to property ownership鈥攕wapping hats for houses. The Church of the Madeleine saw a lot of C茅zanne family milestones: Paul鈥檚 parents were married there, his sister Marie was baptized in 1841, and his other sister, Rose, tied the knot there four decades later.
From 1850 to 1870, the C茅zannes lived at 14 Matheron street, just a few minutes鈥� walk from Paul鈥檚 first address. Although C茅zanne traveled often鈥攅specially to Paris鈥擜ix always pulled him back like a canvas waiting for its next layer.
He studied at the local municipal school on Thorn street, then at the Bourbon College鈥攏ow known as Mignet College鈥攐n Cardinal street. His art training came from the school housed inside the Granet Museum, conveniently parked on Saint John Square.
C茅zanne married Hortense Fiquet at the Town Hall in Aix-en-Provence. For company and conversation, he often chose a table at Les Deux Gar莽ons on Mirabeau Boulevard鈥攁 place where painters, poets, and politics all shared the bill.
Today, you鈥檒l find brass markers scattered around town鈥攐n walls, streets, and squares鈥攓uietly guiding you through the places where C茅zanne lived, loved, painted, and occasionally dodged his father鈥檚 advice to get a 鈥渞eal job.鈥�
By 1844, the family had moved to 14 Icehouse Road. That鈥檚 where the paperwork for his parents鈥� marriage turned up, listing Louis-Auguste as a former milliner who had moved on to property ownership鈥攕wapping hats for houses. The Church of the Madeleine saw a lot of C茅zanne family milestones: Paul鈥檚 parents were married there, his sister Marie was baptized in 1841, and his other sister, Rose, tied the knot there four decades later.
From 1850 to 1870, the C茅zannes lived at 14 Matheron street, just a few minutes鈥� walk from Paul鈥檚 first address. Although C茅zanne traveled often鈥攅specially to Paris鈥擜ix always pulled him back like a canvas waiting for its next layer.
He studied at the local municipal school on Thorn street, then at the Bourbon College鈥攏ow known as Mignet College鈥攐n Cardinal street. His art training came from the school housed inside the Granet Museum, conveniently parked on Saint John Square.
C茅zanne married Hortense Fiquet at the Town Hall in Aix-en-Provence. For company and conversation, he often chose a table at Les Deux Gar莽ons on Mirabeau Boulevard鈥攁 place where painters, poets, and politics all shared the bill.
Today, you鈥檒l find brass markers scattered around town鈥攐n walls, streets, and squares鈥攓uietly guiding you through the places where C茅zanne lived, loved, painted, and occasionally dodged his father鈥檚 advice to get a 鈥渞eal job.鈥�
5) Eglise de la Madeleine (Church of the Madeleine)
At one corner of Preachers Square in Aix-en-Provence stands a church with more comebacks than a rock band reunion tour鈥攖he Church of the Madeleine. It originally rose in the 13th century as part of a Dominican convent complex, only to go up in flames in 1383. Rebuilt, it crumbled again in 1465. Clearly, longevity wasn鈥檛 in the blueprint鈥攗ntil 1703, when local architect Laurent Vallon gave the church its current form.
The fa莽ade you see today? That came later, under the chisel of Henri R茅voil, during France鈥檚 Second Empire phase鈥攖hink serious symmetry. There's even a detailed frame of the Annunciation out front, just in case you needed a reminder this place takes its sacred storytelling seriously. Step inside, and the space opens up with the stark, weighty air of Dominican design鈥攗nadorned, but undeniably grand.
The church鈥檚 collection of sacred art isn鈥檛 modest, though. You'll find works like The Death of Saint Joseph by Jean-Baptiste van Loo, Magdalene at the Home of Simon by Michel Serre, and a 15th-century Annunciation triptych by Barth茅lemy d鈥橢yck. There鈥檚 also Our Lady of the Graces, a statue reportedly gifted by none other than Saint Bonaventure鈥攚hen a saint gives you a sculpture, you keep it.
And for C茅zanne fans, this church has extra weight. Paul was baptized here, alongside his sister Marie. Their parents exchanged vows under this very roof. Later, in 1881, C茅zanne鈥檚 younger sister Rose tied the knot here too. So if these walls could talk, they'd probably paint a family portrait鈥攐n canvas, of course.
The fa莽ade you see today? That came later, under the chisel of Henri R茅voil, during France鈥檚 Second Empire phase鈥攖hink serious symmetry. There's even a detailed frame of the Annunciation out front, just in case you needed a reminder this place takes its sacred storytelling seriously. Step inside, and the space opens up with the stark, weighty air of Dominican design鈥攗nadorned, but undeniably grand.
The church鈥檚 collection of sacred art isn鈥檛 modest, though. You'll find works like The Death of Saint Joseph by Jean-Baptiste van Loo, Magdalene at the Home of Simon by Michel Serre, and a 15th-century Annunciation triptych by Barth茅lemy d鈥橢yck. There鈥檚 also Our Lady of the Graces, a statue reportedly gifted by none other than Saint Bonaventure鈥攚hen a saint gives you a sculpture, you keep it.
And for C茅zanne fans, this church has extra weight. Paul was baptized here, alongside his sister Marie. Their parents exchanged vows under this very roof. Later, in 1881, C茅zanne鈥檚 younger sister Rose tied the knot here too. So if these walls could talk, they'd probably paint a family portrait鈥攐n canvas, of course.
6) H么tel de Ville d'Aix-en-Provence (Town Hall)
Welcome to the Town Hall of Aix-en-Provence鈥攚here history wears an Italian suit and keeps a rather serious face. Overlooking the aptly named Town Hall Square, this dignified building stands on the site of an older structure that lasted until the 14th century, when time and politics said it was due for an upgrade.
The current version took shape between 1655 and 1678, under the guidance of architect Pierre Pavillon, with sculptors Jean-Claude Rambot and Jacques Fosse lending a chisel. It sports a Baroque fa莽ade that once flaunted a lot more flair鈥攗ntil the French Revolution came along and trimmed the decorations, leaving behind a leaner, more stoic look. Still, there鈥檚 charm in the details: five windows per floor, carved fruit garlands, floral friezes, and a pair of chunky buttresses that give the whole building authority.
Inside, the Hall of the Estates of Provence lines its walls with portraits of French kings and regional counts, alongside painted episodes from the city's past鈥攕ome solemn, some theatrical, all unmistakably Provence.
Next door, the Clock Tower dates back to 1510 and still houses an astronomical clock installed in 1661. At its base, you鈥檒l spot white limestone blocks thought to be remnants of a Roman gateway鈥攔eused so the city keeps the Roman theme going strong.
Top it off with a 16th-century wrought-iron bell cage that once rang to remind peasants of their landlord visit鈥攃ash, carrots, or elbow grease. A gentle nudge from the past, reminding you that taxes were never optional.
And if you're looking for a romantic twist, here it is: in 1886, Paul C茅zanne tied the knot with Marie-Hortense Fiquet right inside these walls. She鈥檇 go on to appear in 27 of his paintings鈥攑erhaps not always smiling, but immortal nonetheless.
In 1995, the Town Hall officially joined the ranks of historical monuments, though frankly, it had been acting like one for centuries.
The current version took shape between 1655 and 1678, under the guidance of architect Pierre Pavillon, with sculptors Jean-Claude Rambot and Jacques Fosse lending a chisel. It sports a Baroque fa莽ade that once flaunted a lot more flair鈥攗ntil the French Revolution came along and trimmed the decorations, leaving behind a leaner, more stoic look. Still, there鈥檚 charm in the details: five windows per floor, carved fruit garlands, floral friezes, and a pair of chunky buttresses that give the whole building authority.
Inside, the Hall of the Estates of Provence lines its walls with portraits of French kings and regional counts, alongside painted episodes from the city's past鈥攕ome solemn, some theatrical, all unmistakably Provence.
Next door, the Clock Tower dates back to 1510 and still houses an astronomical clock installed in 1661. At its base, you鈥檒l spot white limestone blocks thought to be remnants of a Roman gateway鈥攔eused so the city keeps the Roman theme going strong.
Top it off with a 16th-century wrought-iron bell cage that once rang to remind peasants of their landlord visit鈥攃ash, carrots, or elbow grease. A gentle nudge from the past, reminding you that taxes were never optional.
And if you're looking for a romantic twist, here it is: in 1886, Paul C茅zanne tied the knot with Marie-Hortense Fiquet right inside these walls. She鈥檇 go on to appear in 27 of his paintings鈥攑erhaps not always smiling, but immortal nonetheless.
In 1995, the Town Hall officially joined the ranks of historical monuments, though frankly, it had been acting like one for centuries.
7) Cathedrale Saint-Sauveur d'Aix-en-Provence (Aix Cathedral) (must see)
Seventeenth-century writer Jean Pitton claimed that Aix Cathedral rose where a Roman temple to Apollo once stood鈥攑roof that even the gods can鈥檛 hold onto prime real estate forever. The site鈥檚 first church was reportedly founded around 500 AD by Saint Maximinus, who, according to tradition, arrived from Jerusalem with Mary Magdalene in a boat generously lent by Saint Lazarus. Apparently divine Uber was a thing back then.
The cathedral we see today took root in the 12th century with a solid Romanesque nave. Then came a second one in 1171, dedicated to Saint Maximinus himself, squeezing in between the original nave and baptistry like a holy architectural remix. The 14th century brought more flair, with a Gothic-style transept added in 1318鈥攃learly, Aix was keeping up with cathedral trends.
Outside, the fa莽ade is a theatrical display of late Gothic drama: pointed arches, slim yellowish buttresses, and twelve Apostles playing hide-and-seek in the niches鈥攖hree upfront, the rest loitering in the wings. Above it all, Archangel Michael takes center stage, dramatically skewering a dragon atop the balustrade. The walnut portal doors, carved in 1505, add a final flourish of detail, leading into a space that juggles three styles鈥擱omanesque on one side, Gothic down the middle, and Baroque along the north.
Inside, it鈥檚 not just architecture on show. You鈥檒l find the 5th-century baptistry with Roman columns still holding their ground, plus a high altar supported by bronze figures of the Holy Trinity. The walls display works by Nicolas Froment, Jean Daret, and Louis Finson鈥攁 follower of Caravaggio known for his dramatic flair. One standout treasure is a set of 16th-century tapestries, originally woven for Canterbury Cathedral and brought to Aix long before international art loans became the norm.
And then there鈥檚 C茅zanne. The hometown icon, who once called Aix the best place to live, painted the cathedral repeatedly from a spot just a short walk from his studio.When he died in 1906, it was here鈥攗nder the watch of archangels, apostles, and centuries of layered stone鈥攖hat he took his final bow.
The cathedral we see today took root in the 12th century with a solid Romanesque nave. Then came a second one in 1171, dedicated to Saint Maximinus himself, squeezing in between the original nave and baptistry like a holy architectural remix. The 14th century brought more flair, with a Gothic-style transept added in 1318鈥攃learly, Aix was keeping up with cathedral trends.
Outside, the fa莽ade is a theatrical display of late Gothic drama: pointed arches, slim yellowish buttresses, and twelve Apostles playing hide-and-seek in the niches鈥攖hree upfront, the rest loitering in the wings. Above it all, Archangel Michael takes center stage, dramatically skewering a dragon atop the balustrade. The walnut portal doors, carved in 1505, add a final flourish of detail, leading into a space that juggles three styles鈥擱omanesque on one side, Gothic down the middle, and Baroque along the north.
Inside, it鈥檚 not just architecture on show. You鈥檒l find the 5th-century baptistry with Roman columns still holding their ground, plus a high altar supported by bronze figures of the Holy Trinity. The walls display works by Nicolas Froment, Jean Daret, and Louis Finson鈥攁 follower of Caravaggio known for his dramatic flair. One standout treasure is a set of 16th-century tapestries, originally woven for Canterbury Cathedral and brought to Aix long before international art loans became the norm.
And then there鈥檚 C茅zanne. The hometown icon, who once called Aix the best place to live, painted the cathedral repeatedly from a spot just a short walk from his studio.When he died in 1906, it was here鈥攗nder the watch of archangels, apostles, and centuries of layered stone鈥攖hat he took his final bow.
8) Atelier de Cezanne (Cezanne's Studio) (must see)
Head uphill from the city, and you'll find what might be the quietest place in Aix with the loudest artistic legacy鈥擟茅zanne鈥檚 Studio. Perched on Lauves Hill, this was Paul C茅zanne鈥檚 creative headquarters from 1902 until his death in 1906. No gallery glitz here鈥攋ust the real deal, exactly where he stood, mixed his paints, and glared at fruit until it revealed its geometric truth.
After his mother passed away and the family estate was sold, C茅zanne bought an old farmhouse with a generous patch of land and a postcard view of his muse鈥擬ountain Saint-Victoire. He added a studio upstairs with big south-facing windows and a glass roof to let in that famously moody Provence light. Downstairs was for living, upstairs was for working. The layout proved worthwhile as the result was paintings like The Bathers, still studied and swooned over.
When C茅zanne died, the studio passed to his son, who eventually sold it to writer Marcel Provence. Luckily, Provence was the sentimental type鈥攈e left the studio just as C茅zanne had, and artists and historians made quiet pilgrimages to soak in the genius vibes. After Provence鈥檚 death, art historian John Rewald and writer James Lord rallied to buy and preserve the site. By 1952, the C茅zanne Memorial Committee had turned the place into a museum.
Today, it鈥檚 owned by the Aix-en-Provence Tourist Office and recognized as a House of the Illustrious鈥攚hich is France鈥檚 fancy way of saying 鈥淵es, this place really matters.鈥� Inside, you鈥檒l find C茅zanne鈥檚 brushes, easel, still-life props, and a sense of paused time. Temporary exhibits rotate through, but the real magic is standing in the room where modern art found its backbone.
After his mother passed away and the family estate was sold, C茅zanne bought an old farmhouse with a generous patch of land and a postcard view of his muse鈥擬ountain Saint-Victoire. He added a studio upstairs with big south-facing windows and a glass roof to let in that famously moody Provence light. Downstairs was for living, upstairs was for working. The layout proved worthwhile as the result was paintings like The Bathers, still studied and swooned over.
When C茅zanne died, the studio passed to his son, who eventually sold it to writer Marcel Provence. Luckily, Provence was the sentimental type鈥攈e left the studio just as C茅zanne had, and artists and historians made quiet pilgrimages to soak in the genius vibes. After Provence鈥檚 death, art historian John Rewald and writer James Lord rallied to buy and preserve the site. By 1952, the C茅zanne Memorial Committee had turned the place into a museum.
Today, it鈥檚 owned by the Aix-en-Provence Tourist Office and recognized as a House of the Illustrious鈥攚hich is France鈥檚 fancy way of saying 鈥淵es, this place really matters.鈥� Inside, you鈥檒l find C茅zanne鈥檚 brushes, easel, still-life props, and a sense of paused time. Temporary exhibits rotate through, but the real magic is standing in the room where modern art found its backbone.
Walking Tours in Aix-en-Provence, France
Create Your Own Walk in Aix-en-Provence
Creating your own self-guided walk in Aix-en-Provence is easy and fun. Choose the city attractions that you want to see and a walk route map will be created just for you. You can even set your hotel as the start point of the walk.
Aix-en-Provence Introduction Walking Tour
Aix-en-Provence may not have coastal views, but it compensates in style with its Roman bathwater and city logistics. Founded in 123 BC by Roman consul Gaius Sextius Calvinus, this southern French settlement鈥攐riginally named Aquae Sextiae, which means 鈥淲aters of Sextius鈥濃�攚as built around its thermal springs and the promise of a good soak. Centuries later, the name was streamlined to... view more
Tour Duration: 1 Hour(s)
Travel Distance: 1.7 Km or 1.1 Miles
Tour Duration: 1 Hour(s)
Travel Distance: 1.7 Km or 1.1 Miles
Aix-en-Provence Fountains and Squares Tour
Aix-end-Provence is known for its fountains. With more than 1,000 fountains, a tourist could spend weeks walking around the city without glimpsing them all. The fountains began appearing under the Roman empire when the Romans discovered Aix's natural thermal water source. They referred to the area as Aquae Sextiae or the Waters of Sextius.
The fountains appear throughout the city and are... view more
Tour Duration: 1 Hour(s)
Travel Distance: 1.6 Km or 1 Miles
The fountains appear throughout the city and are... view more
Tour Duration: 1 Hour(s)
Travel Distance: 1.6 Km or 1 Miles
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