By Franz Simandl
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CEZANNE 33 object-forms and a deeply coherent structure of the composition. It is extremely doubtful . oix in his choice of subjects. But in the self-chastening process, the painting of still-life-as latent symbol and intimate tan gible reality-was, perhaps more than his other themes, a bridge between his earlier and his later art. NOTES .. I wish to thank my colleague Prof. Theodore Reff and Dr. Miriam Bunim for help in finding the sources of several statements in the literature on Cezanne. For photographs I am indebted to Profs.
The picture was in the Josse Bernheim-Jeune collection, Paris, but dis appeared during the last war. It is reproduced in color by Joachim Gasquet, Cezanne, Paris 1 9 2 1 , pI. opp. p. 1 56 . , XLVII I, 1 966, 35-44, with further remarks on our picture on p . 39 . A watercolor ver sion, 9" by 1 1 % ", was reproduced in color in the catalogue of an auction at Sotheby's, London, April 30, 1 969, with the title, Le Jugement de Paris, Catalogue of Impression ist and Modern Paintings, Drawings and Sculpture, no.
The original fantasy of the young Cezanne is set in hell like the story of Ugolino, which was also a theme of Rodin and Carpeaux and of a bitter poem by Laforgue. Instead of devouring his children, the bald father is pictured sardonically offering them portions of his own head. One might interpret this image as an unspoken wish for the father's death which will give the young Cezanne the freedom and means for an independent career. 8! A second text with a still-life image appears in the poem of 18 5 8 that he called "Songe d'Annibal.
30 Etudes for the String Bass by Franz Simandl