Th is book, like the exhibition it accompanies, looks at the special pictorial and thematic characteristics of CÃ©zanne’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 . CÃ©zanne 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 CÃ©zanne’s earliest surviving self – portraits , dating from the 1860s, through to his final portraits of Vallier, the gardener at his hou se near Aix – en – Provence, made shortly before the artist’s death in 1906. Exhibition curator John Elderfield contributes an illuminating introductory essay on CÃ©zanne’s portraiture, while the artist’s biographer, the late Alex Danchev, provides an informative dramatis personae on the sitters featured . The catalogue texts are by John Elderfi eld, Mary Morton and Xavier Rey , and a chronology by Jayne Warman sets the artist’s work in the context of his life.