Los Ángeles, CA, Estados Unidos : University of California Press ; The Regents of the University of California, 1946, c1943.

141 p. : il., byn. ; 32 cm.

I. Introduction. -- II. Cézanne as Theorist and artist. -- III. An Illustrated glossary. -- IV. Hoe Cézanne Organized a Picture. -- V. Cézann'es materials and methob. -- VI. Introductory analysis of a still life. -- VII. Problems of perspective. -- VIII. The problem of scale and the constrol of volume and space. -- IX. Distortion through the shifting of eye levels. X. The problem of distortion through tipping axes. -- XI. Distortion in drawing. XII. Aerial perspective. -- XIII. Realism and abstration. -- XIV. Further comparisons. -- XV. Conclusion. -- Biographical note. -- index.

Tomado del Prefacio: "A few misconceptions about Cézannes Compositions may appropriately be pointed out with the printing of this second edition. It is not a book of criticism in the traditional, sense; the aim is to present facts about space composition that have not hitherto been explained in any book. Although an explanation of Cézanne's exact procedure in painting is given in Section IV (pp.25-33), the diagrams are not primarily concerned with this matter. Compositional problems of a broader scope constitute the various section of the book; Cézanne is merely convenient to use as the fountainhead for modern concepts of space organization. When Cézzane is compared with earlier masters the comparison is only a general one. I regret having used the word "classic" because I am not concerned here with the usual meaning of the word. It appears in only a few sentences, where it implies sound compositional structure amd nothing more. In this sense Cezánne, Giotto, and other Renaissance painters certainlyreveal clasical structure."