Paul Cézanne's interest in the subject may have had roots in thoughts other than the contemplation of death. He could have been drawn to the skulls' volumetric forms, just as he was to those of fruits and vases, and he supposedly exclaimed "How beautiful a skull is to paint!" They also share physical similarities with his self-portrayals: "the skulls confront the viewer straight-on in a manner reminiscent of the artist's portraits." In both sets of works the mass of the cranium is emphasized: in the self-portraits the lower half of his face is obscured by his beard, while the skulls lack lower jaws altogether. In both series attention is focused on the round pate and eye sockets. There would have been further reason for the subject to interest Cézanne: skulls were prominent in the homes of Catholics, and Cézanne was a devout Catholic knowledgeable in ancient Christian texts. Human skulls had also long been common accessories in artists' studios.
Richard August Zimmermann, Winter landscape at night - Schack-Galerie, München Date: Unknown Technique: Unknown *Source*
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