yet create contrasts. It's all about the volume!" The still lifes that Cézanne painted from the late 1880s are another focus of his work. He refrained from rendering the motifs in linear perspective and instead depicted them in the dimensions that made sense to him in terms of composition; a pear, for example, can be oversized in order to achieve inner balance and an exciting composition. He built his arrangements in the studio. In addition to the fruit, there are jugs, pots and plates, and occasionally a putto, often surrounded by a white, puffy tablecloth that lends the subject a baroque opulence. It is not the objects that should attract attention, but the arrangement of the shapes and colours on the surface. Cézanne developed the composition from individual dabs of paint spread across the canvas, from which the form and volume of the object gradually build up. Achieving the balance of these patches of colour on the canvas required a slow process, so Cézanne often worked on a painting for a long time. Initially only portraying family members or friends, Cézanne's better financial position allowed him to hire a professional model, a young Italian named Michelangelo di Rosa, for The Boy in the Red Vest (1888–1890), one of his best-known paintings. Di Rosa was represented in four paintings and two watercolours. Final period, Provence, 1890–1906 Many of his later works, the so-called "lyrical period", such as the cycle of the bathers, are characterized by a turn to freely invented figures in the landscape; Cézanne created about 140 paintings and sketches on the theme of the bathing scenes. Here you can find his admiration for classical painting, which seeks to unite man and nature in harmony in Arcadian idylls. In the last seven years he created three large-format versions of The Great Bathers (Les Grandes Baigneuses), with the 208 × 249 cm work on display in Philadelphia being the largest. Cézanne was concerned with the composition and the interplay of shapes and colours, of nature and figures. For his paintings at this time he used sketches and photographs as templates, since he did not like the presence of naked models. Cézanne painted five versions of The Card Players (Les Joueurs de cartes) in 1890 and 1895, in which the same person is represented in different variants. For The Card Players, he used farmers and day laborers who worked in the fields