Abstract
Paul Cezanne's Apotheosis of Delacroix (1890–94) haunted him all his life and in the end remained unfinished. This essay considers Cézanne's painting—an allegory featuring real and apparitional figures set in a Provençal landscape—in light of intersecting cultural discourses encompassing varieties of related concerns, ideological and aesthetic, especially the metaphoric significance of Eugène Delacroix's use of color as symbol of political unity and as index of perceptual and cultural shifts under the Third Republic. Although Cézanne's small painting largely reflects this context, intriguing representational incongruities militate against its emphatically declared purpose as a homage.
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