presents a picture – Cézanne's painting Still Life with Bowl of Fruit – formerly owned by Paul Gauguin. The writer André Gide acquired Hommage à Cézanne and gave it to the Musée du Luxembourg in 1928. It is currently in the Musée d'Orsay, Paris. Among the people portrayed: Odilon Redon is in the foreground on the left, listening to Paul Sérusier opposite him. Also depicted from left to right are Édouard Vuillard, the critic André Mellerio with a top hat, Vollard behind the easel, Maurice Denis, Paul Ranson, Ker-Xavier Roussel, Pierre Bonnard with a pipe, and on the far right Marthe Denis, the painter's wife. Last years In 1901, Cézanne acquired a piece of land north of the city of Aix-en-Provence along the Chemin des Lauves, an isolated road on some high ground, where he had his studio built on the Chemin des Lauves in 1902 according to his needs (Atelier de Cézanne, now open to the public). He moved there in 1903. For large-format paintings such as The Bathers, which he created in the Les Lauves studio, he had a long, narrow gap in the wall built through which natural light could flow. That year Zola died, leaving Cézanne in mourning despite the estrangement. His health deteriorated with age; In addition to his diabetes, he suffered from depression in old age, which manifested itself in growing distrust of his fellow human beings to the point of delusions of persecution. Despite the artist's increasing recognition, hateful press releases appeared and he received numerous threatening letters. Cézanne's paintings were not well received among the petty bourgeoisie of Aix. In 1903 Henri Rochefort visited the auction of paintings that had been in Zola's possession and published on 9 March 1903 in L'Intransigeant a highly critical article entitled "Love for the Ugly". Rochefort describes how spectators had supposedly experienced laughing fits, when seeing the paintings of "an ultra-impressionist named Cézanne". The public in Aix was outraged, and for many days, copies of L'Intransigeant appeared on Cézanne's door-mat with messages asking him to leave the town "he was dishonouring". "I don't understand the world and the world doesn't understand me, so I withdrew from the world," said old Cézanne to his coachman. When Cézanne deposited his will with a notary in September 1902, he excluded his wife Hortense from the inheritance and declared his son Paul to be the sole heir. Hortense is said