By Skye Sherwin
The Frenchman was more interested in geometry – engaging with nature via the sphere, cylinder and cone, as he put it – than psychological realism
To say that Paul Cézanne‘s paintings of children were unsentimental is an understatement. Here, the son of a hotel gardener becomes a sphinx, with eyes that seem to stare eternally into unknown mysteries. His pale, symmetrical face – with its elegant arcs of eyebrows – might be a painted mask.