Cezanne, living as a solitary in Aix, moved into his late phase. Now he concentrated on a few basic subjects: still lifes of studio objects built around such recurring elements as apples, statuary, vases and tablecloths; studies of bathers, based upon the male model and drawing upon a combination of memory, earlier studies, and sources in the art of the past; and successive views of the Mont Sainte-Victoire, a nearby landmark, painted from his studio looking across the intervening valley. The landscapes of the final years, much affected by Cézanne's contemporaneous practice in watercolor, have a more transparent and unfinished look, while the last figure paintings are at once more somber and spiritual in mood. By the time of his death on Oct. 22, 1906, Cézanne's art had begun to be shown and seen across Europe, and it became a fundamental influence on the Fauves, the cubists, and virtually all advanced art of the early 20th century. cezanne@art.artsmarket.co.uk
View of the Mont Sainte-Victoire

Cézanne's still lifes are both traditional and modern. The fruits and objects are readily identifiable, but they have no aroma, no sensual or tactile appeal and no other function other than as passive decorative objects coexisting in the same flat space. The special attraction of still life to Cézanne was the ability, to some extent, to control the structure. He brooded over his apples, jugs, tables, and curtains, arranging them with infinite variety. Still Life with Apples and Peaches glows with a romantic energy, as hugely present at Mont Sainte-Victoire. Here too is a mountain, and here too sanctity and victory: the fruits lie on the table with an active power that is not just seen but experienced. The jug bulges, not with any contents, but with its own weight of being. The curtain swags gloriously, while the great waterfall of the napkin absorbs and radiates light onto the table on which all this life is earthed.
Apples, Peaches and Grapes