Th is book, like the exhibition it accompanies, looks at the special pictorial and thematic characteristics of Cézanne''s portraiture practice, including his creation of complementary pairs and multiple versions of the same subject . The chronological development of the artist''s portraiture is also explored , with an examinat ion of the changes that occurred with respect to his style and method, on the one hand, and his understanding of resemblance and identity, on the other . Th e extent to which particular sitters inflected the characteristics and development of his practice is also considered . Cézanne Portraits features works that mutually inform each other to reveal arguably the most personal , and therefore most human, aspect of his art, and one that has hitherto received surprisingly little attention. They range from Cézanne''s earliest surviving self - portraits , dating from the 1860s, through to his final portraits of Vallier, the gardener at