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quality here, no real shadows. More than two thirds of the picture plane portrays great body bulk, both vertically and horizontally. The body shape is essentially the same shape of the head and face. The hat seems out of scale, almost as if the artist was so concerned with the body and head, that he forgot to leave space at the top of the picture plane for a more appropriate or, at least, a more suitable headdress consistent with the elegance and extravagance of the body costume.

A more three dimensional quality is given to Cezanne's composition by the angled presentation of the face and right shoulder, but primarily by the visible rows of brush strokes, the majority of which seem to go in one direction; diagonally from upper right to lower left, except where differences in texture are brought out; in the hair and beard and in the folds of the coat and shirt. Also, the space left on either side of the subject gives the portrait a more three dimensional feeling, and gives it balance on the picture plane.

The artists' objective, obviously, was to paint a likeness of the subject. However, the Henry VIII painting is more or less unrealistic, representational and unnatural in terms of believable human qualities; whereas, Cezanne's portrait exhibits more emotional and personally appealing truths.

Source: Art, A History of Painting, Sculpture, and Architecture, Volume Two, Third Edition, by Frederick Hartt, Paul Goodloe McIntire Professor Emeritus of the History of Art, University of VA. 1989.

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