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| Camille Pissarro Portrait of Paul Cézanne 1874 oil on canvas National Gallery, London |
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| Paul Cézanne Self-portrait with hat ca. 1890-94 oil on canvas Bridgestone Museum of Art, Tokyo |
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| Paul Cézanne Portrait of Madame Cézanne in blue 1890 oil on canvas Museum of Fine Arts, Houston |
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| Paul Cézanne Portrait of Madame Cézanne in red armchair ca. 1877 oil on canvas Museum of Fine Arts, Boston |
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| Paul Cézanne Portrait of Madame Cézanne ca. 1890 oil on canvas Musée de l'Orangerie, Paris |
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| Paul Cézanne Portrait of Madame Cézanne ca. 1890-92 oil on canvas Philadelphia Museum of Art |
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| Paul Cézanne Woman with coffeepot ca. 1895 oil on canvas Musée d'Orsay, Paris |
"Flatness in general in Cézanne had always been at root a metaphor for materiality – for the painter's conviction that in a world made up of matters the being-in-the-eye of an object is also its being-out-there-at-a-distance, known to us only by acquaintance."
"This seems true of Cézanne. I agree with all those who have written about him that somewhere at the heart of his (and Pissarro's) epistemology is an idea of knowledge built out of singular, equivalent units – events that happen in the eye, and which the dab of paint will analogize precisely. We are back to the wording of Freud's "Project for a Scientific Psychology": "The intention of this project is to furnish us with a psychology which shall be a natural science: its aim, that is, is to represent psychical processes as quantitatively determined states of specifiable material particles and so to make them plain and void of contradictions."
"The body may never take place anywhere once and for all; but what it is made of – what our imagining of it is made of – will take place, and take on its own consistency. Its place is the picture surface. And the kind of consistency it has is hard for us to deal with – that is why we retreat into the world of the imaginary – just because it is ultimately inhuman, or nonhuman, or has humanity as one of its effects."
"Modernism, I am convinced, would not anger its opponents in the way it seems to if it did not so flagrantly assert the beautiful as its ultimate commitment. And if it did not repeatedly discover the beautiful as nothing but mechanism, nothing but matter dictating (dead) form. This is a horrible proposal, and I understand and sympathize with the wish to retrieve the human, the social, and the discursive on the other side of it."
– from Freud's Cézanne, chapter three in T.J. Clark's Farewell to an Idea: Episodes from a History of Modernism (Yale University Press, 1999)
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| Paul Cézanne Pond ca. 1877-79 oil on canvas Museum of Fine Arts, Boston |
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| Paul Cézanne Terrace in the garden at Les Lauves ca. 1902-06 watercolor Morgan Library, New York |
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| Paul Cézanne Still-life with kettle 1867-69 oil on canvas Musée d'Orsay, Paris |
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| Paul Cézanne Fruit and jug on table ca. 1890-94 oil on canvas Museum of Fine Arts, Boston |
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| Paul Cézanne Milk-can and apples 1879-80 oil on canvas Museum of Modern Art, New York |
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| Paul Cézanne Mont Sainte-Victoire and Château Noir ca. 1904-06 oil on canvas Bridgestone Museum of Art, Tokyo |
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| Paul Cézanne Mont Sainte-Victoire ca. 1902-06 oil on canvas Nelson-Atkins Museum of Art, Kansas City |