Paul Gerard Smith

D.O.B.        14 January 1956.

History of Art, School of Creative Arts, Performance and Visual Cultures, Faculty of Arts Building, University of Warwick, Coventry CV4 7AL, Royaume Uni

Telephone +44 [0] 24 76 52 24 90




1/2005        Professor of History of Art, University of Warwick.



1991           PhD, University of London (Courtauld Institute of Art).

1978           University College London: BA (2.i) in History of Art (and Philosophy).

Awarded Wittkower Prize (departmental undergraduate prize) 1976.



2021-22      Leverhulme Major Research Fellowhsip: Unfolding vision: Cezanne’s ‘way of seeing’

2003           Arts and Humanities Research Board: research leave scheme award.

2002           Visiting Scholar, Getty Research Institute (Cezanne and Biography).

1999-2000  Leverhulme Trust: research fellowship (Cézanne and the Primitive).

1996-97      British Academy (Humanities Research Board): study leave scheme award (Cezanne)



Single-Authored Books

1996           Interpreting Cézanne (London: Tate Publishing), 80pp.

— New York: Stewart, Tabori & Chang, 1996.

1995           Impressionism: Beneath the Surface (London, Orion; New York: Abrams; Paris: Flammarrion;

Cologne: Dumont).  Chapter on Cezanne.

Edited Books

2007           The Substance and the Shadow (University Park, Pennsylvania: Penn. State University Press) 264pp.  Contains an Introduction and notes to the translation of the text (a novel published in 1878 whose central character is based upon Cézanne).

2002           Companion to Art Theory (Oxford: Blackwell), edited jointly with Carolyn Wilde, 504pp.  Contains a co-authored preface, xvi-xix, and a single-authored essay: ‘Wittgenstein, Description, and Adrian Stokes (on Cézanne)’, 196-214.


Peer-reviewed journal papers

2023           ‘Looking Slowly with Cezanne’, The Burlington Magazine, vol. 165, no. 1441 (April), 422-435.

2020           ‘Vermilion, or why Cézanne took the shine off things’, Word & Image, vol. 26, no. 1 (April), 64-79.

2013           ‘Cézanne’s “Primitive” Perspective, or the “View from Everywhere”’, The Art Bulletin, vol. 95, no. 1 (March), 102-19.

1998           ‘Joachim Gasquet, Virgil and Cézanne’s Landscape: « My Beloved Golden Age »‘, Apollo, vol. 147, no. 439 (October), 11-23.


Edited works: contributions

2021           ‘Cezanne’s un-constructive line’, in Judit Geskó (ed.), Cezanne to Malevich: Arcadia to Abstraction(Budapest: Museum of Fine Arts), 44-55.

2014           ‘Cézanne’s Colour Lab: not-so-still life’, in Benedict Leca (ed.), The World is an Apple: The Still Lifes of Paul Cézanne (Hamilton, Ontario and Giles, London: Art Gallery of Hamilton), 92-144.

2007           ‘ »Real Primitives »; Cézanne, Wittgenstein, and the Nature of Aesthetic Quality’, in J. Harris (ed.), Value, Art, Politics (Liverpool: Liverpool University Press), 93-122.

2007           ‘Cézanne’s Primitive Self and Related Fictions’, in C. Salas (ed)., The Life and the Work: Art and Biography (Los Angeles: Getty Research Institute), 45-75

2006           ‘Cézanne’s Late Landscape, or the Prospect of Death’ in P. Connisbee and D. Coutagne (eds.), Cézanne in Provence, exhibition catalogue (Washington: National Gallery/Aix-en-Provence: Musée Granet),

2000           ‘Cézanne’s Maternal Landscape and its Gender’ in S. Adams and A. Gruetzner Robins (eds.), Gendering Landscape Art (Manchester: Manchester University Press/New Jersey: Rutgers University Press), 116-32 and 211-15.


Reviews of single academic books/exhibitions

2000           Cézanne: Finished/Unfinished (by Walter Feilchenfeldt et al.), Apollo, vol. 152, no. 464 (October), 61-2.


Broadcast media

2005           ‘Poldex’, podcast of a paper a paper given at the conference held in connection with the MOMA exhibition, Pioneering Modern Painting: Cézanne and Pissarro: (begins at 35:30).




2/2018        ‘Cézanne’s use of ton, or harmony through thick and thin’, Courtauld Institute (‘Showcasing Art History’ series).

11/2017      ‘“Sit lilke an apple”: painting people as if they were things (and vice-versa)’, National Portrait Gallery (in connection with the Cézanne Portraits exhibition).

10/2010      ‘Cézanne’s Colour: Mother or Other?’, University of Bristol, Autumn Art Lecture

9/2006        ‘La proie et l’ombre de Marius Roux’, conference organised by the Société Paul Cézanne at the Musée Granet, in connection with the exhibition, Cézanne et Provence.

7/2006        ‘The Grammar of Cézanne’s Drawing’, National Gallery Washington.

2/2002        ‘Poldex vs. Rambert, or What Makes Cézanne’s Modern Art Good’, Harold E. Dickson Memorial Lectureship in Art History, Penn State University.

3/1996        ‘Cézanne and Perception’ given at the Tate Gallery.

2/1993        ‘A Defence of Seurat’s Aesthetic’, Courtauld Institute of Art.



09/2023      ‘Contre “l’aphonie”: Poiurquoi les peintures tradives de Cezanne devient-elles sombres?’, Colloquium: Cezanne et son atelier des Lauves, Société Paul Cezanne/Musée Granet. 

05/2023      ‘The Mistral in the Marble: Cezanne, Multiple Viewpoint, and Predictive Processing’, The Science of Art and Seeing (Symposium), Cardiff metrolitan University/Royal Society of Arts.

6/2017        ‘Vermillion: materiality and what matters in an Impressionist painting’, The Changing Colours of Nineteenth-Century Art and Literature, Trinity College Oxford.

6/2013        ‘Cézanne’s Colour: in the Flesh’, Colour Colloquium, Getty Research Institute.

6/2010        ‘Cézanne’s Colour: in the Flesh’, Courtauld Institute of Art, conference in honour of John House.

9/2006        ‘La Proe et l’ombre de Marius Roux’, Centre de congrès d’Aix, symposium in connection with the exhibition, Cézanne en Provence at the Musee Granet.

2/2006       ‘Cézanne’s Pictorial Grammar’, College Art Association, Boston.

9/2005        ‘Poldex’, Museum of Modern Art, New York, conference in connection with the exhibition, Pioneering Modern Painting: Cézanne and Pissarro.

3/2003        ‘Cézanne and the Artistic Persona’, CRASSH Biographical Knowledge conference, Peterhouse, Cambridge.

2/2003        ‘One or Two Temperamental Cézannes’, College Art Association, New York.

1/2003        ‘“JE est un autre”: Cézanne and the Fictional Self’, Clark Institute/Getty Research Institute ‘Art History and Biography’ conference, Los Angeles.

4/2001        ‘Cézanne and the Illusion of Classicism’, Jules Flandrin conference, Maison française, Oxford.

2/2001        ‘Explanation and Description in Adrian Stokes’s Cézanne’, College Art Association, Chicago.

3/1997        ‘Cézanne, Landscape and Gender’, Association of Art Historians, Courtauld Institute of Art.

3/1996        Chair of the Tate Gallery symposium, Cézanne and the Aesthetic (held at the National Gallery).


Research seminars

11/2011      Cambridge University

10/2011      Edinburgh University

10/2008      London aesthetics forum

3/2008        Duke University

4/2007        University of Birmingam

3/2003        Bath Spa University College

3/2002        University of Edinburgh

10/2000      University of Austin, Texas



2009-15      Co-supervised PhD (with Aviva Burnstock, Courtauld Institute): Elizabeth Reissner (AHRC funded), Meaning in the Making of the Works of Paul Cézanne (awarded 2016).

2005-10      Taught final-year unxdergraduate course: Cézanne and the Primitive.

2010           Examined PhD: Douglas MacKay, Copying, Parody and pastiche in the early work of Paul Cézanne, Australian National University (passed).