surable with the normative painting of the nude. Schapiro concludes sensibly that the marked 6. uneasiness on view in some early paintings is what led him eventually to set aside the theme of Paul sexual fantasy and gratification. Cezanne, Cezanne exhibited the second Olympia, A Modern Olympia, painted in 1872-73 (fig. 7), A Modern in the first "Impressionist" exhibition in the spring of 1874. Lionello Venturi has found the Olympia, 48 ca. 1869 — 70, painting to be ironic, but in 1874 critics found it to be a deeply disturbed and disturbing paint- oil on canvas, ing. The champion of naturalism, Jules Castagnary, for example, found that the picture was private spoiled by fantasy and romanticism, both utterly personal in origin and therefore anathema to collection, Castagnary: "From idealization to idealization, they will end up with a degree of romanticism Paris.