艺术家: Denis Maurice
日期: 1900
尺寸: 178 x 240 cm
博物馆: Kunsthalle Bremen (Bremen, Germany)
术: 高须
这幅大格式出品的"出品"为莫里斯·德尼(Maurice Denis)为他出品的出品画"Homage to Cézanne (Musée d'Orsay, Paris)"作画作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作作 在艺术经销商安布鲁斯·沃拉德(Ambroise Vollard)的店里,由符号学家取名的奥迪隆·雷顿(Odilon Redon)与艺术评论家安德列·梅莱里奥(André Mellerio),沃拉德和德尼,以及保罗·兰森(Paul Ranson),克尔-克萨维尔·鲁塞尔(Kerr-Xavier Roussel),皮埃尔·博纳德(Pierre Bonnard)和德尼的妻子玛特(从左到右)一起讨论保罗·塞鲁西尔(Edouard Vuillard)与水果碗的"Still Life"(Still Life). Cézanne对Nabis人的努力施加了相当大的影响,他们努力在表面描绘空间,超越了视角的范围。 由于他在1897年的静活被保罗·高更所掌握,德尼也间接地将他说成是纳比斯人在这个"古阿斯"中的另一个主要人物. 毕竟,正是高更对保罗·塞鲁西耶的影响力导致1888年纳比斯人成立. 这幅巴黎画与不来梅画的初步画不同,
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