The Cover Section Editor: M. Therese Southgate,
MD, Senior Contributing Editor.
Paul Cézanne (1839-1906) was a longtime friend and associate
of the Impressionists; he even joined in two of their exhibitions, one in
1874 and another in 1877. On the other hand, their works and his are as different
as skin and bone. The Impressionists caught the surface of objects; Cézanne
sought their structure. One painted the skin of reality, the other its skeleton.
Cézanne began where the Impressionists left off. If they were revolutionary,
Cézanne was more so—the greatest revolutionary in western painting
since Giotto, according to art historian John Canaday
(The Lives of the Painters, III: Neoclassic to Post-Impressionist Painters. New York, NY: WW Norton & Co; 1972), and the father of modern
painting. Though Cézanne continued working almost to the day of his
death in 1906, already in the mid-1880s he was producing some of his most
memorable paintings. Among them were landscapes (JAMA cover, February 19,
2003), portraits (JAMA cover, January 13, 1999), and a group of bathing
Southgate MT. The Bather. JAMA. 2003;290(4):439. doi:10.1001/jama.290.4.439