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  Vol. 63 No. 2, February 2006 TABLE OF CONTENTS
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  Art and Images in Psychiatry
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The House of the Hanged Man at Auvers

Since this article does not have an abstract, we have provided the first 150 words of the full text and any section headings.

His work proves without doubt that painting is not—or not any longer—the art of imitating an object by lines and colors but of giving plastic form to our nature.—Gleizes and Metzinger1(p127)

On January 4, 1872, Marie-Hortense Ficquet, mistress of Paul Cézanne (1839-1906), gave birth to a son, who was named Paul after his father.2 They had met several years earlier in Paris, and she had accompanied him to L’Estaque, near his family home in Aix-en-Provence. To avoid being drafted in the Franco-Prussian war, Cézanne lived in a house there that his mother had rented for him in 1870. Although his mother was aware of his relationship with Hortense, it was kept secret from his father, who was unlikely to agree to a marriage to a dowerless girl. Cézanne acknowledged his paternity, and his son's birth was officially registered just as his own birth had been registered 33 years earlier . . . [Full Text of this Article]

James C. Harris



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