罗杰·弗莱在《塞尚及其画风的发展》中指出,“他(塞尚)认为他是个幻想家。”塞尚自己却说过完全相反的话:“例如我自己的方法——我从来没有用过其他方法——就是讨厌发挥想象。”仿佛是为了强调这一点,他随即又说道:“我希望自己就像一棵菜那样没有意识。”倘若我们可以相信弗莱的论述,那么这里无疑出现了两个塞尚,而厌弃想象的后者才是为我们所熟悉的那一个,在写生直观中无数遍描绘着苹果与圣维克多山的塞尚。然而,前者呢?当我们面对《拉撒路》、《验尸》、《巴夏》这样一些作品,乃至更为早期的《四季》——甚至仅仅从这些画题推想——它们 Roger Frye pointed out in “Cezanne and his style of development” that “he (Cezanne) thinks he is a visionary.” “Cezanne himself has said the exact opposite:” For example, my own method - I have never used any other method - I hate to be imaginative. “” It seems as if to emphasize this: “I wanted to be as unconscious as a dish.” "If we can believe Frye’s discourse, then there is no doubt that there are two Cezanne, and the latter is the one we are fond of imagination in the sketching intuitively countless times painted Apple and St. Victor mountain Cezanne. However, what about the former? When we face works such as Lazarus, Post-mortem, and Pasha, and even the earlier Four Seasons - or even just from these paintings - they