本論文主要探討法國十九世紀末那比派(Les Nabis)畫家莫里斯‧德尼(Maurice Denis) 於1900年所繪製的一幅群像畫《向塞尚致敬》(Hommage à Cézanne)。

德尼在此幅作品中，描繪了一群那比派青年藝術聚集在畫商沃拉(Ambroise Vollard) 的畫廊內，圍繞在塞尚的靜物畫旁。德尼在這幅群像畫中，不僅描繪了自己與一群那比派藝術家，同時也描繪了畫商沃拉、評論家梅勒西歐(André Mellerio)、象徵主義畫家魯東(Odilon Redon)與自己的妻子瑪莎(Maurice Marthe)在內共十位對象。

關於此作品的討論，目前研究一般認為此張群像畫為提升十九世紀末後印象派藝術家塞尚名聲的主要證據。 近年來研究則傾向於將此幅作品作為德尼本人的藝術轉向或是政治上的表態。 目前學界並沒有學者針對此張作品專書討論， 大部分關於此幅作品的討論多為研究那比派的專書所零星提及。

然而，文獻中亦指出， 德尼在構想此幅群像畫之前，並沒有提及塞尚，而是將魯東作為那比派藝術家的圍繞的對象；更甚者，德尼同時也將此作品連結十六世紀西班牙藝術家葛雷科 (El Greco)的作品《歐貴茲伯爵的葬禮》(The Burial of the Count of Orgaz)。由於德尼的原始構想與結果相差甚遠，與宗教繪畫的連結更是顯示出其特定而不甚明確的傾向，因此本論文極力欲釐清造成德尼改變初衷的原因、以及其對於何以將此作品與宗教連結的態度。同時，塞尚的靜物畫《高腳盤、玻璃與蘋果》(Compotier, verre et pommes)作為德尼此幅作品的主要焦點，不僅取代了群像畫中將被致敬者的肖像作為致意的傳統，同時無疑地也扮演了重要的角色，因此本論文亦著重於探討塞尚靜物畫對於德尼本人的意義與重要性。

本論文分為三章。第一章首先探討法國十九世紀群像畫的傳統與發展。此部分希望藉由比較藝術家群像畫的傳統與類型，指出德尼《向塞尚致敬》在構圖與形式上所採取的不同策略，討論此幅作品的獨特性與創新概念。第二章則討論塞尚靜物畫對於德尼的意義，並以塞尚的靜物畫作為一種特殊指涉性的符號角度，揭櫫其如何扮演了德尼與他的同儕們在圖像對話(pictorial dialogue)上的媒介。身為那比派藝術家的精神導師，高更(Paul Gauguin)的肖像畫作品《瑪利亞．黛西昂在塞尚的靜物畫前》(Maria Derrien à la nature morte de Cézanne)為將塞尚的靜物畫挪用至個人作品中的首例，其後那比派理論家塞呂西葉(Paul Sérusier)與塞尚追隨者貝納(Émile Bernard)也同樣地利用了塞尚的《高腳盤、玻璃與蘋果》作為各自的呼應與對比。本章藉由研究此一現象，探討圖像作為一種對話方式，如何應用在那比派的藝術理念表達之上，尤其如何影響了德尼對於選擇塞尚的靜物畫作為代表向塞尚本人的致敬。第三章則探討在德尼作品中出現的十位對象的連結關係，包括德尼的妻子瑪莎(Maurice Marthe)、那比派藝術家們、畫商沃拉、評論家梅勒西歐(André Mellerio)、與象徵主義畫家魯東(Odilon Redon)。藉由探討他們之間在藝術上彼此緊密而相連的關係，本章意在剖析德尼在選擇上所流露出的個人的態度與藝術傾向（包括德尼如何結合天主教的概念），同時也分析德尼從對魯東致敬而轉向對塞尚致敬的深層原因，並藉由此探討德尼在藝術表現上的連貫性。

透過對此張作品在題材上、內容上、與特定對象的描繪與分析，本論文的研究顯示，德尼的《向塞尚致敬》不僅僅只是對塞尚致敬，同時也表達了對魯東致敬的意涵；德尼也藉由塞尚的靜物畫《高腳盤、玻璃與蘋果》企圖達到與那比派的同儕們進行關係聯結與圖像對話的方式；同時德尼更具體而微地將他與他的同儕們表現在一個特定而小眾的團體之中，藉以緬懷那比派、並宣示其個人在藝術主張上的轉向與發展（從前衛到追求以文藝復興為藍本的古典樣式）。正是由於這些多重涵意的宣示，德尼的《向塞尚致敬》因此不能一概論定為單純地向塞尚致敬。

目前臺灣針對德尼相關所撰寫的論文不多， 對於此幅作品討論的篇幅甚少，希望本論文的研究與討論有助於建構德尼藝術表現更為全面性的觀點。

Hommage à Cézanne painted by French artist Maurice Denis (1870-1943) in 1900 is a painting that combines a self-portrait, a group portrait and a gallery depiction. The dominant tendency amongst scholars has viewed Hommage à Cézanne as a document of Cézanne’s rising reputation rather than as a painting with its own formal tensions and interests. Cézanne’s significance for the early twentieth-century modernism has led scholars to extract this painting out of its complicated context in which it was appreciated.

In my study, I analyse Maurice Denis’ renewed strategy on group portraiture and homage painting, pointing out that he not only adopts the tradition of group portrait to pay homage to Cézanne, but also transforms its composition into an ideology of reconciliation. Denis’ personal intention for staging significant personalities reveals a deeper intention than his title “Homage to Cézanne” might announce. By positioning the figures of the Nabis, Cézanne, Redon, Gauguin, Renoir, and Vollard, Denis constitutes interpersonal relations on his painting. He wove a social connection between his companions and advisors in artistic association.

This thesis is divided into three chapters, each centering on a single topic about Denis’ strategy. Chapter one examines the development of group portraiture and homage painting during the nineteenth-century in France. By examining previous important group portraits and homage paintings, such as by Louis-Léopold Boilly, Gustave Courbet, Henri Fantin-Latour, and Félix Vallotton, I analyse the formal tradition of group portraiture and renewed strategy Denis has taken in Hommage à Cézanne.

Chapter two investigates the relations and pictorial dialogue in the Nabi group which mainly focus on Cézanne’s still life Compotier, verre et pommes. Positioned in the center of Denis’ work, Cézanne’s still life Compotier, verre et pommes actually plays an important role in the Nabi circle, since it was approprited by one after another. By making several examples in contrast with the prototype of Cézanne, including the still life of Denis, Gauguin, Sérusier, and Bernard, it is obvious to find that the Nabi circle and their artistic allegiances overlapped a similiar cast of characters for Cézanne’s still life. These connections demonstrate an interest in collective painting that was itself formed collectively, shaped and reshaped in a network of artists and writers, colleagues and friends.

Chapter three explores the relationship between artists, writers, dealers and others; they are directly involved in the group and their portraits in Hommage à Cézanne. The representative figures in Hommage à Cézanne such as Gauguin, Redon, Vollard and the Nabis group weaved a complicated relationship in their circle at the end of the nineteenth-century. Examining their relationship and attitude toward Hommage à Cézanne helps to interpret another dimension of the painting.

My research argues Hommage à Cézanne is not only a painting that pays homage to Cézanne, but it also pays homage to Redon. This painting also celebrates a moment that the Nabi members were getting together after their generation was reaching an end. It is a pictorial statement of a group of artists as well as a group portrait that memorializes the Nabi group, their guides, and the prospect of avant-garde. Denis even attempted to reconcile his devout Catholicism with the practice of this painting. By forging Symbolism into a new synthesis between sensation and imagination, the individual and the collectivity, as well as between modernity and tradition, Denis presented Hommage à Cézanne as a model reconciliation of intellectual and the Nabi collective aspects.

1.Published Books
-Alsdorf, Bridget Abigail. The art of association: Fantin-Latour and the modern group portrait, Ph. D dissertation, Berkeley University of California, 2008
-_____. Fellow men: Fantin-Latour and the problem of the group in Nineteenth-century French painting, Princeton & Oxford: Princeton University Press, 2013
-Athanassoglou-Kallmyer, Nina Maria. Cézanne and Provence: the painter in his culture, Chicago & London: The university of Chicago, 2003
-Badt, Kurt, and Sheila Ann Ogilvie, trans. The art of Cézanne, New York: Hacker Art Books, 1985
-Baumann, Felix A., and Walter Feilchenfeldt, Hubertus Gassner, ed. Cézanne and the dawn of modern art, Ostfildern: Hatje Cantz, 2004
-Bätschmann, Oskar, and Eileen Martin, trans. The artist in the modern world : a conflict between Market and self-expression, Cologne: DuMont Buchverlag, 1997
-Bray, Xavier. El Greco, London: National Gallery Company, 2004
-Brenneman, David A., ed. Manet & Bazille: a collaboration, New York: Harry N. Abrams, 1999
-Bouillon, Jean-Paul, ed, and Josephine Bacon, Caroline Newman, Shena Wilson trans. Maurice Denis: earthly paradise, Paris: Musée Nationaux, 2006
-Boyer, Patricia Eckert, ed. The Nabis and the Parisian avant-garde, New Brunswick and London: Rutgers University press, 1988
-Boyle-Turner, Caroline. Gauguin and the school of Pont-Aven: prints and paintings, London: Royal Academy of Arts, 1986
-Brodskaya, Natalia. Félix Vallotton: the Nabi from Switzerland, Parkstone, Bournemouth, England: Aurora Art Publishers, 1996
-Brown, Jonathan, and William B. Jordan, Richard L. Kagan, and Alfonso E. Pérez Sánchez, ed. El Greoco of Toledo, New York & Boston: Little, Brown and Company, 1982
-Burns, Michael. France and the Dreyfus Affair: a documentary history, Boston: Bedford, St. Martin’s, 1999
-Chu, Petra ten-Doesschate. The most arrogant man in France: Gustave Courbet and the nineteenth century media culture, New Jersey: Princeton University Press, 2007
-_____, ed. Letters of Gustave Courbet, Chicago: University of Chicago Press, 1992
-Clement, Russell T., ed. Four French Symbolists: a source book on Pierre Puris de Charannes, Gustave Moreau, Odilon Redon, and Maurice Denis, Greenwood Press, 1996
-Coubrey, John Walker Mc. Studies in French still-life paintings, theory and criticism: 1600-1860, Ph. D dissertation, New York University, 1958
-Davies, David, and John H. Elliott, ed. El Greco, London; National Gallery Company, 2003
-de Font-Réaulx, Dominique, and Laurence des Cars, Michel Hilaire, Bruno Mottin, Bertrand Tillier. Gustave Courbet, New York: Metropolitan Museum of Art; Ostfildern: Hatje Cantz, 2008
-Denis, Maurice, and Pierre Masson, Carina Schäfer (ed.), Correspondance: 1892-1945 / André Gide, Maurice Denis, Paris: Gallimard, 2006
-Denis, Maurice. Théories, 1890-1910 du symbolisme et de Gauguin vers un nouvel ordre classique, 1st and 2nd ed, Paris: Bibliothèque de l’Occident, 1912; 3rd ed, Paris: Rouart et Watelin, 1913; 4th ed, ibid, 1920, in Open Library http://openlibrary.org/works/OL1732876W/Théories_1890-1910 accessed in 23 April, 2012
-Denis, Maurice, and J. Watelin, ed. Nouvelles théories sur l'art moderne, sur l'art sacré, 1914-1921, Paris, 1922, in Open Library http://openlibrary.org/works/OL1732873W/Nouvelles_théories_sur_l'art_moderne_et_sur_l'art_sacré_1914-1921 accessed in 23 April, 2012
-Denis, Maurice, and Jean-Paul Bouillon, ed. Le ciel et l’arcadie, Paris: Hermann, éditeurs des sciences et des arts, 1993
-Dorra, Henri. The Symbolism of Paul Gauguin: erotica, exotica, and the great dilemmas of humanity, Berkeley and Los Angles: University of California Press, 2007
-Doran, Michael, ed, and Julie Lawrence Cochran, trans. Conversations with Cézanne, Berkeley: University of California Press, c2001
-Doran, P. M., ed. Conversations avec Cezanne, Paris: Macula, 1978
-Druick, Douglas W., and Gloria Groom, Fred Leeman, Maryanne Stevens, ed. Odilon Redon: prince of dreams 1840-1906, Chicago: The Art Institute of Chicago, 1994
-Eisenman, Stephen F. The temptation of Saint Redon: biography, ideology, and style in the Noirs of Odilon Redon, Chicago and London: The University of Chicago Press, 1992
-Frèches-Thory, Claire and Antoine Terrasse. The Nabis: Bonnard, Vuillard and their circle, Paris: Flammarion, 2002
-Fried, Michael. Manet’s Modernism, or, the face of painting in the 1860s, Chicago: The University of Chicago Press, 1996
-_____. Courbet’s Realism, Chicago & London: The University of Chicago Press, 1990
-Goodman, John, trans. Frédéric Bazille: prophet of Impressionism, New York: The Booklyn Museum, 1993
-Groom, Gloria. Beyond the easel: decorative painting by Bonnard, Vuillard, Denis, and Roussel, 1890-1930, New Haven: Yale University, 2001
-Hollaner, Martha. An entrance for the eyes: space and meaning in seventeenth-century Dutch art, Berkeley, Los Angeles and London: University of California Press, 2002
-Jensen, Robert. Marketing modernism in fin de siècle Europe, New Jersey: Princeton University Press, 1994
-Kostenevich, Albert. The Nabis, New York: Parkstone Press International, 2009
-Kuenzil, Katherine Marie. The anti-heroism of modern life symbolist decoration and the problem of privacy in fin-de-siècle modernist painting, Ph. D dissertation, Berkeley University of California, 2002
-_____. The Nabis and intimate Modernism: painting and decorative at the fin-de-siécle, Burlington: Ashgate Publishing Company, 2010
-Lucie-Smith, Edward. Symbolist art, London: Thames and Hudson Ltd, 1972
-Milner, John. The studios of Paris: the capital of art in the late nineteenth century, New Haven and London: Yale University Press, 1988
-Murphy, Richard W. The world of Cézanne 1839-1906, New York: Time-Life Books, 1968
-Newman, Sasha M., with essays by Marina Ducrey, ed. Félix Vallotton: a retrospective, New Haven: Yale University, 1991
-Nicolson, Benedict. Courbet: The studio of the painter, London: Penguin Books Ltd, 1973
-Platzman, Steven. Cézanne the self-portraits, Los Angeles: University of California, 2001
-Preston, Stuart. Vuillard, New York: Harry N. Abrams, 1985
-Rabinow, Rebecca A., ed. Cézanne and Picasso: Ambroise Vollard, patron of the avant-garde, New York: Metropolitan Museum of Art; New Haven: Yale University Press, 2006
-Rathbone, Eliza E., and George T.M. Shackelford, ed. Impressionist still life, New York: Harry N. Abrams, 2002
-Regan, Marci. Paul Durand-Ruel and the market for early Modernism, Master Thesis, Louisiana State University, 1997
-Rewald, John. Cézanne: a biography, New York: Harry N. Abrams, 1986
-_____. in collaboration with Walter Feilchenfeldt and Jayne Warman, The paintings of Paul Cézanne: a catalogue raisonné volume I, New York: Harry N. Abrams, 1996
-_____, ed. Marguerite Kay (trans.), Paul Cézanne letters, Oxford: Bruno Cassirer, 1946
-_____, ed. Cézanne and America: dealers, collectors, artists and critics, 1891-1921, New Jersey: Princeton University Press, 1989
-Riegl, Alöis, Evelyn M. Kain and David Britt, trans. The group portraiture of Holland, Los Angeles: Getty Research Institute, 1999
-Rishel, Joseph J., and Katherine Sachs, ed. Cézanne and beyond, New Haven: Yale University Press, 2009
-Robin, James H. Impressionist cats & dogs: pets in the painting of Modern life, New Haven and London: Yale University Press, 2003
-Schapiro, Meyer. Cézanne, New York: Harry N. Abrams, 2004
-Scottez-De, Annie Wambrechies. Boilly: un grand peintre français de la Révolution à la Restauration, Lille: Musée des Beaux-Arts,1988
-Siegfried, Susan L. The art of Louis-Léopold Boilly: modern Life in Napoleonic France, New Haven and London: Yale University Press, 1995
-Silverman, Debora. Van Gogh and Gauguin: the search for sacred art, New York: Farrar, Straus and Giroux, 2000
-Solana, Guillermo, and Richard Shiff, Guy Cogeval, Maria Dolores Jiménez-Blanco, ed. Gauguin and the origins of Symbolism, London: Philip Wilson Publishers, 2004
-Stavitsky, Gail, and Katherine Rothkopf, ed. Cézanne, Paul, 1839-1906, New Haven and London: Yale University Press, 2009
-_____. Cézanne and American Modernism, New Haven and London: Montclair Art Museum, The Baltimore Museum of Art, Phoenix Art Museum, 2010
-Stoichita, Victor I., and Anne-Galsheen, trans. The self-aware image: an insight into early modern meta-painting, New York: Cambridge University Press, 1997
-Stuffmann, Margret, and Max Hollein, ed. Melissa Thorson Hause and Allison Plath-Moseley, etc (trans.), As in a dream: Odilon Redon, Frankfurt: Hatje Cantz Verlag, 2007
-Thomson, Belinda. Gauguin, London: Thames and Hudson Ltd, 1987
-van Gogh, Vincent, and Johanna van Gogh-Bonger, Elfreda Powell, ed. The letters of Vincent van Gogh to his brother and others, 1872-1890, London: Constable & Robinson Ltd, 2003
-Vollard, Ambroise, and Harold L. van Doren, trans. Cézanne, New York: Dover Publication, 1984
-Walther, Ingo F., and Michael Hulse, trans. Paul Gauguin, 1848-1903: the primitive sophisticate, Köln: Benedikt Taschen Verlag GmbH, 1992
-Welu, James A., ed. The collector’s cabinet: Flemish paintings from new England private collections, Worcester: Worcester Art Museum, 1983
-White, Harrison C., and Cynthia A. White. Canvases and careers: institutional change in the Drench painting world, Chicago and London: The University of Chicago Press, 1993
-Wildenstein, Daniel, and Chris Miller, trans. Gauguin, a salvage in a making: catalogue raisonée of the paintings (1873-1888), Milan: Skira; Paris: Wildenstein Institute, 2002
-Wright, Christopher. The French painters of the seventeenth century, New York: Graphic Society Book, 1985
-Zafran, Eric M., ed. Gauguin’s Nirvana: painters at Le Pouldu 1889-1890, New Haven and London: Yale University Press, 2001
-趙玲華，《莫理斯．德尼繪畫中的十九世紀末法國精神表現研究》，台北：國立台灣師範大學美術研究所西洋美術史組碩士論文，2010。
-吳嘉瑄，《莫理斯．德尼早期繪畫中的宗教特質（1889-1895）》，中壢：中央大學藝術學研究所碩士論文，2002。
-游欣雅，《歐迪隆．荷東（Odilon Redon）晚期裝飾繪畫與當代潮流級贊助之研究》，台北：國立台灣師範大學美術研究所碩士論文，2003。
-潘襎編譯，《塞尚書簡全集》，台北：藝術家，2007。
-李明明，《法國近現代藝術：踏出沙龍．走向現代》，台北：藝術家出版社，2011。

2.Periodical Essays
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-Alsdorf, Bridget Abigail. “Fantin’s failed Toast to Truth”, in Getty Research Journal No. 3, 2011, pp. 53-70
-Andersen, Wayne V. “ Cézanne, Tanguy, Choquet ”, in The Art Bulletin, Vol. 49, No. 2 (Jun., 1967), pp. 137-139
-Antliff, Mark. “The Jew as anti-artist: Georges Sorel, anti-Semitism, and the aesthetics of class consciousness”, in Oxford Art Journal, Vol. 20, No. 1 (1997), pp. 50-67
-Athanassoglou-Kallmyer, Nina. “Cézanne and Delacroix’s posthumous reputation”, in The Art Bulletin, Vol. 87, No. 1 (Mar., 2005), pp. 111-129
-Aurier, Albert. “Le Symbolisme en peinture: Paul Gauguin”, in Mercure de France, March 1891, pp. 155-165, http://gallica.bnf.fr/ark:/12148/bpt6k1051454/f156.pdf accessed in 12 April, 2012
-Beaulieu, Annette Leduc, and Brooks Beaulieu. “The Thadée Natanson panels: a Vuillard decoration for S. Bing’s maison de l’Art Nouveau”, in Nineteenth-Century Art Worldwide, Vol. 1, No. 2, Autumn, 2002, http://19thc-artworldwide.org/index.php/autumn02/260-the-thadee-natanson-panels-a-vuillard-decoration-for-s-bings-maison-de-lart-nouveau accessed in 12 March, 2012
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-Berman, Greta. “The paradox of Redon”, in Journal of Art History, Vol. 39, No. 1-4, 1970, pp. 70-79
-Bodelsen, Merete. “Gauguin's Cézannes”, in The Burlington Magazine, Vol. 104, No. 710 (May, 1962), pp. 204+206-209+211
-Buren, Daniel, and Thomas Repensek, trans. “The function of the studio”, in October, Vol. 10 (Autumn, 1979), pp. 51-58
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-Denis, Maurice, and Roger Fry, trans. “Cézanne-I”, In The Burlington Magazine for Connoisseurs, Vol. 16, No. 82 (Jan., 1910), pp. 207-209+212-215+219
-_____. “Cézanne-II”, In The Burlington Magazine for Connoisseurs, Vol. 16, No. 83 (Feb., 1910), pp. 275-277+279-280
-Halliday, Tony. “Academic outsiders at the Paris Salons of the revolution: the case of drawings à la manière noire”, in Oxford Art Journal, Vol. 21, No. 1 (1998), pp. 71-86
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-Kultermann, Udo. “Fantin Latour’s Hommage à Delacroix and the formation of homage painting”, in Journal of Art History, Vol. 48, No. 1, 1979, pp. 31-37
-_____. “Hommage à Cézanne by Maurice Denis”, in Journal of Art History, Vol. 52, No. 2, 1983, pp. 83-87
-Leoussi, Athena S. “Civic to ethnic classicism: the cult of the Greek body in late nineteenth century French society and art”, in International Journal of the Classical Tradition, Vol. 16, No. 3/4 (Sep. – Dec., 2009), pp. 393-442
-Marlais, Michael. “Conservative style/ conservative politics: Maurice Denis in Le Vésinet”, in Art History, Vol. 16, No. 1 (March 1993), pp. 125-146
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-Martin, W. “The life of a Dutch artist in the seventeenth century. Part III- The painter’s studio”, in The Burlington Magazine for Connoisseurs, Vol. 8, No. 31 (Oct., 1905), pp. 13-15+17-19+22-24
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-Plax, Julie. “Gersaint’s biography of Antoine Watteau: reading between and beyond the lines”, in Eighteenth-Century Studies, Vol. 25, No. 4 (Summer, 1992), pp. 545-560
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