Editing Paul Cézanne (section)

==Life and work==

===Early years and family===
[[File:Overture.jpg|thumb|[[The Overture to Tannhäuser|''The Overture to Tannhäuser: The Artist's Mother and Sister'']], 1868, [[Hermitage Museum]], St. Petersburg]]
Paul Cézanne was born on 19 January 1839 at 28 rue de l'Opera in [[Aix-en-Provence]],<ref name="Lindsay6">J. Lindsay ''Cézanne; his life and art'', p. 6</ref> the son of the milliner and later banker Louis-Auguste Cézanne and Anne-Elisabeth-Honorine Aubert. His parents married on 29 January 1844, after the birth of Paul, and his sister Marie in 1841. His youngest sister Rose was born in June 1854. The Cézannes came from the commune of [[Saint-Sauveur, Hautes-Alpes|Saint-Sauveur]] (Hautes-Alpes, [[Occitania]]). On 22 February, he was baptized in the [[Église de la Madeleine (Aix-en-Provence)|Église de la Madeleine]], with his grandmother and uncle Louis as godparents,<ref name="Lindsay6" /><ref>Dominique Auzias, [[Le Petit Futé]], 2008 p. 142 [https://books.google.com/books?id=QuMgNOGgBncC&pg=PA142] {{Webarchive|url=https://web.archive.org/web/20160610164855/https://books.google.com/books?id=QuMgNOGgBncC&pg=PA142|date=10 June 2016}}</ref><ref>Dominique Auzias, Jean-Paul Labourdette, ''Aix-en-Provence 2012'', Le Petit Futé, 2012, p. 299 [https://books.google.com/books?id=9gH85A0qBa4C&pg=PA299] {{Webarchive|url=https://web.archive.org/web/20160508191650/https://books.google.com/books?id=9gH85A0qBa4C&pg=PA299|date=8 May 2016}}</ref><ref>Olivier-René Veillon, ''Seul comme Cézanne'', Maisonneuve et Larose, 1995, p. 24.</ref> and became a devout Catholic later in life.<ref>{{cite web|title=Paul Cézanne|url=http://totallyhistory.com/paul-cezanne/|website=TotallyHistory|date=June 2011|access-date=6 December 2015|archive-url=https://web.archive.org/web/20151208101025/http://totallyhistory.com/paul-cezanne/|archive-date=8 December 2015|url-status=live}}</ref> His father, Louis Auguste Cézanne (1798–1886),<ref>{{cite web |url=http://genealogia.netopia.pt/pessoas/pes_show.php?id=472543 |title=Louis Auguste Cézanne |access-date=27 February 2007 |work=Guarda-Mor, Edição de Publicações Multimédia Lda. |archive-url = https://web.archive.org/web/20070329005650/http://genealogia.netopia.pt/pessoas/pes_show.php?id=472543 |archive-date = 29 March 2007}}</ref> a native of [[Saint-Zacharie]] ([[Var (department)|Var]]),<ref>Danchev, Alex (2012). ''[https://books.google.com/books?id=FbrKaKpS5tAC&pg=PA45 Cézanne: A Life]''. Pantheon. p. 45. {{ISBN|0307377075}}.</ref> was the co-founder of a banking firm (Banque Cézanne et Cabassol) that prospered throughout the artist's life, affording him financial security that was unavailable to most of his contemporaries and eventually resulting in a large inheritance.<ref name="Biography.com">{{cite web |url=http://www.biography.com/articles/Paul-Cezanne-9542036 |title=Paul Cézanne Biography (1839–1906) |access-date=17 February 2007 |work=[[Biography (TV series)|Biography.com]] |archive-url=https://web.archive.org/web/20110903063847/http://www.biography.com/articles/Paul-Cezanne-9542036 |archive-date=3 September 2011 |url-status=live }}</ref>

[[File:Cézanne, Le Printemps.jpg|thumb|upright|left|''Spring'', 1860, [[Petit Palais]]]]

His mother, Anne Elisabeth Honorine Aubert (1814–1897),<ref>{{cite web |url=http://genealogia.netopia.pt/pessoas/pes_show.php?id=472544 |title=Louis Auguste Cézanne |access-date=27 February 2007 |work=Guarda-Mor, Edição de Publicações Multimédia Lda. |archive-url = https://web.archive.org/web/20070329064647/http://genealogia.netopia.pt/pessoas/pes_show.php?id=472544 |archive-date = 29 March 2007}}</ref> was "vivacious and romantic, but quick to take offence".<ref name="Vollard16">A. Vollard ''First Impressions'', p. 16</ref> It was from her that Cézanne got his conception and vision of life.<ref name="Vollard16" /> He also had two younger sisters, Marie and Rose, with whom he went to a primary school every day.<ref name="Lindsay6" /><ref name="Vollard14">A. Vollard, ''First Impressions'', p. 14</ref>

At the age of ten Cézanne entered the Saint Joseph school in Aix.<ref>P. Machotka ''Narration and Vision'', p. 9</ref> Classmates were the later sculptor [[Philippe Solari]] and Henri Gasquet, father of the writer [[Joachim Gasquet]], who was to publish his book ''Cézanne'' in 1921,  a testament to the life of the artist. In 1852 Cézanne entered the Collège Bourbon in Aix<ref>{{Cite encyclopedia|url=https://www.britannica.com/biography/Paul-Cezanne|title=Paul Cézanne {{!}} French artist|encyclopedia=Encyclopedia Britannica|access-date=17 August 2018|language=en|archive-url=https://web.archive.org/web/20180817193845/https://www.britannica.com/biography/Paul-Cezanne|archive-date=17 August 2018|url-status=live}}</ref> (now Collège Mignet), where he became friends with [[Émile Zola]], who was in a less advanced class,<ref name="Biography.com" /><ref name="Vollard14" /> as well as [[Baptistin Baille]]—three friends who came to be known as "Les Trois Inséparables" (The Three Inseparables).<ref>{{cite web |url=http://www.nga.gov/exhibitions/2006/cezanne/chronology2.shtm |title=National Gallery of Art timeline, retrieved 11 February 2009 |publisher=Nga.gov |access-date=19 January 2011 |archive-url=https://web.archive.org/web/20101105114346/http://www.nga.gov/exhibitions/2006/cezanne/chronology2.shtm |archive-date=5 November 2010 |url-status=live }}</ref> It was probably the most carefree time of his life as the friends swam and fished on the banks of the [[Arc (Provence)|Arc]]. They debated art, read [[Homer]] and [[Virgil]] and practiced writing their own poems. Cézanne often wrote his verses in Latin. Zola urged him to take poetry more seriously, but Cézanne saw it as just a pastime.<ref>{{cite book |last1=Becks-Malorny |first1=Ulricke |title=Cézanne |page=7}}</ref> He stayed there for six years, though in the last two years he was a day scholar.<ref>J. Lindsay ''Cézanne; his life and art'', p. 12</ref> In 1857, he began attending the Free Municipal School of Drawing in Aix, where he studied drawing under Joseph Gibert, a Spanish monk.<ref>Gowing 1988, p. 215</ref>

At the request of his authoritarian father, who traditionally saw in his son the heir to his bank Cézanne & Cabassol, Paul Cézanne enrolled in the law faculty of the University of Aix-en-Provence in 1859 and attended lectures for the study of [[jurisprudence]]. He spent two years with his unloved studies, but increasingly neglected them and preferred to devote himself to drawing exercises and writing poems. From 1859, Cézanne took evening courses at the École de dessin d'Aix-en-Provence, which was housed in the art museum of Aix, the [[Musée Granet]]. His teacher was the academic painter Joseph Gibert (1806–1884). In August 1859 he won second prize in the figure studies course there.<ref>P. Cézanne ''Paul Cézanne, letters'', p. 10</ref>

His father bought the [[Bastide du Jas de Bouffan|Jas de Bouffan]] (House of the Wind) estate that same year. This partly derelict baroque residence of the former provincial governor later became the painter's home and workplace for a long time.<ref>{{cite web |title=Bastide du Jas de Bouffan |url=https://www.cezanne-en-provence.com/en/the-cezanne-sites/bastide-du-jas-de-bouffan/ |website=Cezanne in Provence |access-date=15 July 2022 |archive-date=25 July 2022 |archive-url=https://web.archive.org/web/20220725103707/https://www.cezanne-en-provence.com/en/the-cezanne-sites/bastide-du-jas-de-bouffan/ |url-status=live }}</ref><ref>{{cite book |last1=Becks-Malorny |first1=Ulricke |title=Cézanne |page=8}}</ref> The building and the old trees in the park of the property were among the artist's favorite subjects. In 1860, Cézanne obtained permission to paint the walls of the drawing room, and created the large-format murals of the four seasons: spring, summer, autumn and winter (today in the [[Petit Palais]] in Paris), which Cézanne ironically signed as [[Jean-Auguste-Dominique Ingres|Ingres]], whose works he did not appreciate. The winter picture is additionally dated 1811, alluding to Ingres' painting [[Jupiter and Thetis]], painted at that time and on display in the Musée Granet.<ref name="Cézanne">{{cite book |last1=Becks-Malorny |first1=Ulricke |title=Cézanne |page=10}}</ref>

Going against the objections of his banker father, he committed himself to pursue his artistic development and left Aix for Paris in 1861. He was strongly encouraged to make this decision by Zola, who was already living in the capital at the time and urged Cézanne to abandon his hesitancy and follow him there. Eventually, his father reconciled with Cézanne and supported his choice of career, on condition that he begin a regular course of study, having given up hope of finding Paul as his successor in the banking business. Cézanne later received an inheritance of 400,000 [[French franc|francs]] from his father, which rid him of all financial worries.<ref>J. Lindsay ''Cézanne; his life and art'', p. 232</ref>

===Studies in Paris===
[[File:Paul Cézanne - Paul Alexis Lê um Manuscrito a Zola.jpg|thumb|''[[Paul Alexis]] reading to [[Émile Zola]]'', 1869–70, [[São Paulo Museum of Art]]]]
Cézanne moved to Paris in April 1861. The high hopes he had set in Paris were not fulfilled, as he had applied to the [[École des Beaux-Arts]] and was turned down. He attended the free [[Académie Suisse]], where he was able to devote himself to life drawing. There he met [[Camille Pissarro]], ten years his senior, and [[Achille Emperaire]] from his hometown of Aix. He often copied at the Louvre from works by old masters such as [[Michelangelo]], [[Peter Paul Rubens|Rubens]] and [[Titian]]. But the city remained alien to him, and he soon thought of returning to Aix-en-Provence.

Initially, the friendship formed in the mid-1860s between Pissarro and Cézanne was that of master and disciple, in which Pissarro exerted a formative influence on the younger artist. Over the course of the following decade, their landscape painting excursions together, in [[Louveciennes]] and [[Pontoise]], led to a collaborative working relationship between equals.

[[File:Paul Cézanne - Achille Emperaire - Google Art Project.jpg|thumb|upright|left|''Portrait of [[Achille Empéraire]]'', 1868, [[Musée d'Orsay]]]]
Zola's faith in Cézanne's future was shaken. In June he wrote to their childhood friend Baille: "Paul is still the excellent and strange fellow I knew at school. To prove that he hasn't lost any of his originality, I have only to tell you that as soon as he got here he talked about returning."<ref>{{cite book |last1=Leonhard |first1=Kurt |title=Cézanne |page=111}}</ref> Cézanne painted a portrait of Zola that Zola had asked for to encourage his friend, but Cézanne was unsatisfied with the result and destroyed the picture. In September 1861, disappointed by his rejection at the École, Cézanne returned to Aix-en-Provence and worked again in his father's bank.<ref name="Cézanne"/>

In the late autumn of 1862 he moved to Paris again. His father secured his subsistence level with a monthly sum of over 150 francs. The traditional École des Beaux-Arts rejected him again. Again Cézanne attended the Académie Suisse, which promoted [[Realism (art movement)|Realism]]. During this time he got to know many young artists, after Pissarro also [[Claude Monet]], [[Pierre-Auguste Renoir]] and [[Alfred Sisley]].

In contrast to the official artistic life of France, Cézanne was under the influence of [[Gustave Courbet]] and [[Eugène Delacroix]], who strove for a renewal of art and demanded the depiction of unembellished reality. Courbet's followers called themselves "realists" and followed his principle ''Il faut encanailler l'art'' ("One must throw art into the gutter"), formulated as early as 1849, which means that art must be brought down from its ideal height and become a matter of everyday life. [[Édouard Manet]] made the definitive break with historical painting, concerned not with analytical observation, but with the reproduction of his subjective perception and the liberation of the pictorial object from symbolic burdens.

[[File:Paul Cézanne 130.jpg|thumb|upright|left|''The Artist's Father, Reading "L'Événement"'', 1866, [[National Gallery of Art]], Washington, D.C.]]
The exclusion of the works of Manet, Pissarro and Monet from the official salon, the [[Salon de Paris]], in 1863 provoked such outrage among artists that [[Napoleon III]] had a “[[Salon des Refusés]]” (salon of the rejected) set up next to the official salon. Cézanne's paintings were shown in the first exhibition of the Salon des Refusés in 1863. The Salon de Paris rejected Cézanne's submissions every year from 1864 to 1869. He continued to submit works to the Salon until 1882. In that year his artist friend [[Antoine Guillemet]] became a member of the Salon jury. Since each jury member had the privilege of showing a picture of one of his students, he passed off Cézanne as his student and secured his first participation at the Salon. He exhibited ''Portrait de M. L. A.'', probably ''Portrait of Louis-Auguste Cézanne, The Artist's Father, Reading "L'Événement"'', 1866 ([[National Gallery of Art]], Washington, D.C.),<ref>{{Cite web |url=http://www.nga.gov/content/ngaweb/Collection/art-object-page.52085.html |title=''The Artist's Father, Reading "L'Événement"'', 1866, National Gallery of Art, Washington, D.C. |year=1866 |access-date=9 August 2015 |archive-url=https://web.archive.org/web/20150426165155/http://www.nga.gov/content/ngaweb/Collection/art-object-page.52085.html |archive-date=26 April 2015 |url-status=live }}</ref> although the painting was hung in a poorly lit spot in the top row of a secluded hall and received no attention. This was to be his first and last successful submission to the Salon.<ref>Gowing 1988, p. 110</ref><ref>{{Cite web |url=https://archive.org/stream/catalogueillustr1882soci#page/n31/mode/2up |title=Société des artistes français, catalogue illustré, Salon 1882, Cézanne, ''Portrait de M. L. A.'', p. 32, no. 520 |year=1879 |access-date=7 November 2015 |archive-url=https://web.archive.org/web/20150924152332/http://www.archive.org/stream/catalogueillustr1882soci#page/n31/mode/2up |archive-date=24 September 2015 |url-status=live }}</ref>
[[File:Le pain et les œufs, par Paul Cézanne.jpg|thumb|''Still Life with Bread and Eggs'', 1865]]
In 2022 a portrait was discovered beneath the 1865 ''[[Still Life with Bread and Eggs]]'' when the [[Cincinnati Art Museum]]'s museum's chief [[Conservation and restoration of cultural property|conservator]], Serena Urry, removing the painting from an exhibit in which it had been included and examining it for potential maintenance requirements, noticed unusual patterns in the cracking and "on a hunch" had it [[x-ray]]ed.<ref name=":1">{{Cite web |last=Feldman |first=Ella |date=19 December 2022 |title=For 158 Years, a Cézanne Portrait Hid Behind a Still Life of Bread and Eggs |url=https://www.smithsonianmag.com/smart-news/for-158-years-a-cezanne-self-portrait-hid-behind-a-still-life-of-bread-and-eggs-180981323/ |access-date=20 July 2023 |website=[[Smithsonian Magazine]] |language=en}}</ref> Because Cézanne dated few paintings, it is believed to be the earliest firmly dated portrait by the artist.<ref name=":2">{{Cite web |date=15 December 2022 |title=Cincinnati Art Museum discovers hidden work under a Cézanne painting in its collection |url=https://www.cincinnatiartmuseum.org/about/press-room/cincinnati-art-museum-discovers-hidden-work-under-a-c%C3%A9zanne-painting-in-its-collection/ |access-date=20 July 2023 |website=[[Cincinnati Art Museum]] |language=en |archive-date=20 July 2023 |archive-url=https://web.archive.org/web/20230720141048/https://www.cincinnatiartmuseum.org/about/press-room/cincinnati-art-museum-discovers-hidden-work-under-a-c%C3%A9zanne-painting-in-its-collection/ |url-status=dead }}</ref> Museum curators believe it is likely a self-portrait; if so it may also be one of the earliest depictions of the artist, who was in his 20s the year he painted the still life.<ref name=":1" />

In the summer of 1865, Cézanne returned to Aix. Zola's debut novel ''La Confession de Claude'' was published, it was dedicated to his childhood friends Cézanne and Baille. In the autumn of 1866, Cézanne executed a whole series of paintings using the [[palette knife]] technique, mainly still lifes and portraits. He spent most of 1867 in Paris and the second half of 1868 in Aix. At the beginning of 1869 he returned to Paris and met the bookbinder's assistant [[Marie-Hortense Fiquet]], eleven years his junior, at the Académie Suisse<ref>{{cite book |last1=Adriani |first1=Götz |title=Cézanne. Life and Work |page=121}}</ref>

===L'Estaque – Auvers-sur-Oise – Pontoise 1870–1874===
On 31 May 1870, Cézanne was best man at Zola's wedding in Paris. During the [[Franco-Prussian War]], Cézanne and Hortense Fiquet lived in the fishing village of [[L'Estaque]] near [[Marseille]], which Cézanne would later visit and paint frequently, as the place's Mediterranean atmosphere fascinated him. He avoided conscription for military service. Although Cézanne had been denounced as a [[Desertion|deserter]] in January 1871, he managed to hide. No further details are known as documents from this period are missing.<ref>{{cite book |last1=Tillier |first1=Bertrand |title=La Commune de Paris, révolution sans images? |date=2013 |publisher=Seyssel |isbn=9782876733909 |page=84}}</ref>

After the [[Paris Commune]] was crushed the couple returned to Paris in May 1871. Paul ''fils'', the son of Paul Cézanne and Hortense Fiquet was born on 4 January 1872. Cézanne's mother was kept a party to family events, but his father was not informed of Hortense for fear of risking his wrath and so as not to lose the financial allowances that his father gave him to live as an artist. The artist received from his father a monthly allowance of 100 francs.<ref>[http://www.nga.gov/exhibitions/2006/cezanne/chronology4.shtm "Cézanne in Provence: A Provençal Chronology of Cézanne: 1870–1879"] {{Webarchive|url=https://web.archive.org/web/20150922023303/http://www.nga.gov/exhibitions/2006/cezanne/chronology4.shtm |date=22 September 2015 }}, National Gallery of Art. Retrieved 14 February 2015.</ref>

When Cézanne's friend, the crippled painter [[Achille Emperaire]], sought refuge with the family in Paris in 1872 due to financial hardship, he soon felt obliged to leave: "[…] it was necessary, otherwise I would not have escaped the fate of the others. I found [Cézanne] here abandoned by everyone. […] Zola, Solari and all the others are no longer mentioned. He's the strangest guy imaginable."<ref name="ReferenceA">{{cite book |last1=Becks-Malorny |title=Cézanne |page=20}}</ref>

From late 1872 to 1874, Cézanne lived with Hortense and their son Paul in [[Auvers-sur-Oise]], where he met the doctor and art lover [[Paul Gachet]], later the painter [[Vincent van Gogh]]'s doctor. Gachet was also an ambitious hobby painter and made his studio available to Cézanne.

In 1872, Cézanne accepted an invitation from his friend Pissarro to work in [[Pontoise]] in the Oise Valley. Pissarro, as a sensitive artist, became a mentor to the shy, irritable Cézanne, whom he was able to persuade to turn away from the darker colours, and gave him advice to "Always only paint with the three primary colours (red, yellow, blue) and their immediate deviations," and refrain from linear contouring, defining shapes from the gradation of the colour tonal values. Cézanne felt that the Impressionist technique was bringing him closer to his goal and heeded his friend's advice. Pissarro later reported: "We were always together, but still each of us kept what counts alone: our own feelings."<ref name="ReferenceA"/>

===First Impressionist group exhibitions from 1874===
[[File:Paul Cezanne, A Modern Olympia, c. 1873-1874.jpg|thumb|''A Modern Olympia'', {{Circa|1873|1874}}, [[Musée d'Orsay]], Paris]]
The young painters in Paris did not see any support for their works in the Salon de Paris and therefore took up [[Claude Monet]]'s plan for their own exhibition, which had been made in 1867. From 15 April to 15 May 1874, the first group exhibition of the ''Société anonyme des artistes, peintres, sculpteurs, engravers'', later known as the [[Impressionism|Impressionists]], took place. This name derives from the title of the exhibited painting ''[[Impression, Sunrise|Impression soleil levant]]'' by Monet. In the satirical magazine [[Le Charivari]], the critic [[Louis Leroy]] described the group as "Impressionists" and thus created the term for this new art movement. The place of exhibition was the studio of the photographer [[Nadar]] on Boulevard des Capucines.

Pissarro pushed through Cézanne's participation despite concerns from some members who feared Cézanne's bold paintings would harm the exhibition. Cézanne was influenced by their style but his social relations with them were inept—he seemed rude, shy, angry, and given to depression. In addition to Cézanne, Renoir, Monet, Alfred Sisley, [[Berthe Morisot]], [[Edgar Degas]] and Pissarro, among others exhibited. Manet declined participation, for him Cézanne was "a mason who paints with a trowel".<ref>{{cite book |last1=Becks-Malorny |title=Cézanne |page=30}}</ref> Cézanne in particular caused a sensation, arousing indignation and derision from the critics with his paintings such as the ''Landscape near Auvers'' and the ''Modern Olympia''.<ref>{{cite book |last1=Leonhard |first1=Kurt |title=Cézanne |page=148}}</ref> In ''A Modern Olympia'', created as a quote from Manet's 1863 painting [[Olympia (Manet)|Olympia]], which was often reviled, Cézanne sought an even more drastic depiction and in addition to the prostitute and servant, also showed the suitor, whose figure is believed to be a self-portrait.<ref>{{cite book |last1=Adriani |first1=Götz |title=Cézanne. Life and Work |page=17}}</ref>

[[File:La Maison du pendu, Auvers-sur-Oise, par Paul Cézanne, FWN 81.jpg|thumb|left|''The Hanged Man's House'', 1873, [[Musée d'Orsay]], Paris]]
The exhibition proved a financial failure; the final accounts showed a deficit of over 180 francs for each of the participating artists. Cézanne's [[The Hanged Man's House]] was one of the few pictures that could be sold. The collector Count Doria bought it for 300 francs.<ref>{{cite book |last1=Becks-Malorny |title=Cézanne |page=34}}</ref>

[[File:Paul Cézanne 137.jpg|thumb|upright|''Portrait of Victor Chocquet'', 1876–77]]
In 1875, Cézanne met the customs inspector and art collector [[Victor Chocquet]], who, mediated by Renoir, bought three of his works and became his most loyal collector and whose commissions provided some financial relief. Cézanne did not take part in the group's second exhibition, but instead presented 16 of his works in the third exhibition in 1877, which in turn drew considerable criticism. Reviewer Louis Leroy said of Cézanne's portrait of Chocquet: "This peculiar looking head, the colour of an old boot might give [a pregnant woman] a shock and cause yellow fever in the fruit of her womb before its entry into the world."<ref>Brion 1974, p. 34</ref> It was the last time he exhibited with the Impressionists.<ref>{{cite book |last1=Leonhard |first1=Kurt |title=Cézanne |page=49}}</ref> Another patron was the paint merchant [[Julien Tanguy (art dealer)|Julien "Père" Tanguy]], who supported the young painters by supplying them with paint and canvas in exchange for paintings.

In March 1878, Cézanne's father found out about the long-hidden relationship with Hortense and their illegitimate son Paul through a thoughtless letter by Victor Chocquet. He then cut the monthly bill in half, and Cézanne entered a financially tense period in which he had to ask Zola for help.<ref>{{cite book |last1=Adriani |title=Cézanne. Life and Work |page=30}}</ref> But in September he relented and decided to give him 400 francs for his family. Cézanne continued to migrate between the Paris region and Provence until Louis-Auguste had a studio built for him at his home, [[Bastide du Jas de Bouffan]], in the early 1880s. This was on the upper floor, and an enlarged window was provided, allowing in the northern light but interrupting the line of the eaves; this feature remains. Cézanne stabilized his residence in L'Estaque. He painted with [[Pierre-Auguste Renoir|Renoir]] there in 1882 and visited Renoir and [[Monet]] in 1883.<ref>[http://www.nga.gov/exhibitions/2006/cezanne/chronology5.shtm "Cézanne in Provence: A Provençal Chronology of Cézanne: 1880–1889"] {{Webarchive|url=https://web.archive.org/web/20150215060653/http://www.nga.gov/exhibitions/2006/cezanne/chronology5.shtm |date=15 February 2015 }}, National Gallery of Art. Retrieved 14 February 2015.</ref>

In 1881 Cézanne worked in Pontoise with Paul Gauguin and Pissarro; Cézanne returned to Aix at the end of the year. He later accused Gauguin of having stolen his "little sensation" from him and that Gauguin, on the other hand only painted [[chinoiserie]]s.<ref>{{cite book |last1=Bernard |first1=Émile |title=Cézanne: On Art |page=88}}</ref> In the spring of 1882, Cézanne worked with Renoir in Aix and – for the first time – in [[L'Estaque]], a small fishing village near [[Marseille]], which he also visited in 1883 and 1888. One of the first two stays was ''The Bay of Marseille seen from L'Estaque''.<ref>{{cite book |last1=Adriani |title=Cézanne. Life and Work |page=123}}</ref> During the autumn of 1885 and the months that followed, Cézanne stayed in [[Gardanne]], a small hilltop town near Aix-en-Provence, where he produced several paintings whose faceted forms were already anticipating the [[Cubism|cubist]] style.

===Break with Zola and marriage===
Cézanne's long friendly relationship with Émile Zola had by now become more distant. In 1878 the urbane, successful writer had set up a luxurious summer house in [[Médan]] near Auvers, where Cézanne had visited him repeatedly in the years 1879 to 1882 and in 1885; but his friend's lavish lifestyle made Cézanne, who lived an unassuming life, aware of his own inadequacy and caused him to doubt himself.<ref>{{cite book |last1=Adrianni |title=Cézanne. Life and Work |page=32}}</ref>

Zola, who meanwhile regarded the childhood friend as a failure, published his roman à clef ''[[L'Œuvre]]'' from the novel cycle of ''Rougon-Macquart'' in March 1886, whose protagonist, the painter Claude Lantier, did not achieve the realization of his goals and committed suicide. In order to further emphasize the parallels between fiction and biography, Zola placed the successful writer Sandoz alongside the painter Lantier in his work. Monet and [[Edmond de Goncourt]] tended to see Édouard Manet in the fictional painter described, but Cézanne found himself reflected in many details. He formally thanked him for sending the work supposedly related to him. For a long time it was thought that contact between the two childhood friends then broke off forever.<ref>{{cite book |last1=Adrianni |title=Cézanne. Life and Work |page=33}}</ref><ref>{{Cite web |url=http://www.19thc-artworldwide.org/autumn04/67-autumn04/autumn04article/295-paul-cezanne-claude-lantier-and-artistic-impotence |title=''Paul Cézanne, Claude Lantier and Artistic Impotence'', by Aruna D'Souza |access-date=17 January 2018 |archive-url=https://web.archive.org/web/20180118012916/http://www.19thc-artworldwide.org/autumn04/67-autumn04/autumn04article/295-paul-cezanne-claude-lantier-and-artistic-impotence |archive-date=18 January 2018 |url-status=live }}</ref> Recently letters have been discovered that refute this. A letter from 1887 demonstrates that their friendship did endure for at least some time after.<ref>{{Cite book|title=Cézanne Portraits|last1 = Elderfield | first1 = John | last2 = Morton | first2 = Mary | last3 = Rey |first3 = Xavier |last4 = Danchev | first4 = Alex | last5 = Warman |first5 = Jayne S. | publisher=National Portrait Gallery| year= 2017 | isbn = 9781855147317|location=London|page=224|oclc=1006293797}}</ref><ref>{{cite journal |last1 = Lethbridge | first1 = Robert | date =Winter 2014 | title = The End of the Affair: Zola and Cézanne | journal = French Studies Bulletin | volume = 35 | issue = 133 | pages = 95–99 | doi = 10.1093/frebul/ktu026 }}</ref>

[[File:Paul Cézanne, 1888-90, Madame Cézanne (Hortense Fiquet, 1850–1922) in a Red Dress, oil on canvas, 116.5 x 89.5 cm, The Metropolitan Museum of Art, New York.jpg|thumb|upright|''Madame Cézanne (Hortense Fiquet, 1850–1922) in a Red Dress'', 1888–1890, oil on canvas, 116.5 × 89.5&nbsp;cm, [[Metropolitan Museum of Art]], New York]]
On 28 April 1886, Paul Cézanne and Hortense Fiquet were married in Aix in the presence of his parents. The connection to Hortense was not legalized out of love, as their relationship had long since broken down. Cézanne was shy of women and terrified of being touched, a trauma that stemmed from his childhood when, by his own admission, a classmate had kicked him from behind on the stairs.<ref>{{cite book |last1=Becks-Malorny |title=Cézanne |page=19}}</ref> Rather, the marriage was intended to secure the rights of the now fourteen-year-old son Paul, whom Cézanne loved very much, as a legitimate son. In the early 1880s the Cézanne family stabilized their residence in Provence where they remained, except for brief sojourns abroad, from then on. The move reflects a new independence from the Paris-centered impressionists and a marked preference for the south, Cézanne's native soil. Hortense's brother had a house within view of [[Montagne Sainte-Victoire]] at L'Estaque. A run of paintings of this mountain from 1880 to 1883 and others of [[Gardanne]] from 1885 to 1888 are sometimes known as "the Constructive Period".<ref>[https://books.google.com/books?id=dhc-U0t14vMC&dq=cezanne+the+Constructive+Period&pg=PA56 Anne Distel, Michel Hoog, Charles S. Moffett, ''Impressionism: A Centenary Exhibition'', Metropolitan Museum of Art] {{Webarchive|url=https://web.archive.org/web/20191230102804/https://books.google.com/books?id=dhc-U0t14vMC&pg=PA56&dq=cezanne+the+Constructive+Period&hl=en&sa=X&ved=0ahUKEwil-Zuyw9_YAhUGzxQKHbKzCgoQ6AEILzAB#v=onepage&q=cezanne%20the%20Constructive%20Period&f=false |date=30 December 2019 }}, 12 December 1974 – 10 February 1975, p. 56, {{ISBN|0870990977}}</ref>

Despite the strained relationship, Hortense was the person who was most often portrayed by Cézanne. From the early 1870s to the early 1890s, 26 paintings of Hortense are known. She endured the strenuous sessions motionless and patiently. In October 1886, after the death of his father, Cézanne, his mother and sisters inherited his estate, which included the Jas de Bouffan estate, so that Cézanne's financial situation became much easier. "My father was a brilliant man," he said in retrospect, "he left me an income of 25,000 francs."<ref>{{cite book |last1=Becks-Malorny |title=Cézanne |page=50}}</ref> By 1888 the family was in the former manor, Jas de Bouffan, a substantial house and grounds with outbuildings, which afforded a new-found comfort. {{as of|2001}}, this house, with much-reduced grounds, is now owned by the city and was open to the public on a restricted basis.<ref name="Becks-Malorny">[https://books.google.com/books?id=POnwVSI3KxMC&dq=cezanne%2C+Jas+de+Bouffan&pg=PA48 Ulrike Becks-Malorny, ''Cézanne''] {{Webarchive|url=https://web.archive.org/web/20200101014803/https://books.google.com/books?id=POnwVSI3KxMC&pg=PA48&dq=cezanne,+Jas+de+Bouffan&hl=en&sa=X&ved=0ahUKEwiopMbdxN_YAhWCthQKHdF8BT4Q6AEINDAC#v=onepage&q=cezanne%2C%20Jas%20de%20Bouffan&f=false |date=1 January 2020 }}, Taschen, 2001, p. 48, {{ISBN|3822856428}}</ref>

===Exhibition at ''Les XX'' 1890 and first solo exhibition in Paris in 1895===
[[File:Paul Cézanne - Le moulin sur la Couleuvre à Pontoise - Google Art Project.jpg|thumb|''Le moulin sur la Couleuvre à Pontoise'']]
Cézanne lived in Paris and increasingly in Aix without his family. Renoir visited him there in January 1888 and they worked together in Jas de Bouffan's studio. In 1890, Cézanne developed [[diabetes]]; the illness made it even more difficult for him to deal with his fellow human beings. Cézanne spent a few months in Switzerland with her and his son Paul in the hope that the troubled relationship with Hortense could be stabilized. The attempt failed, so he returned to Provence, with Hortense and Paul ''fils'' going to Paris. Financial need prompted Hortense's return to Provence but in separate living quarters. Cézanne moved in with his mother and sister. In 1891 he turned to Catholicism.<ref>[https://books.google.com/books?id=237qAAAAMAAJ&q=c%C3%A9zanne,+1891+Catholicism Susan Sidlauskas, ''Cézanne's Other: The Portraits of Hortense''] {{Webarchive|url=https://web.archive.org/web/20191228171502/https://books.google.com/books?id=237qAAAAMAAJ&q=c%C3%A9zanne,+1891+Catholicism&dq=c%C3%A9zanne,+1891+Catholicism&hl=en&sa=X&ved=0ahUKEwia99qQyN_YAhWEPBQKHXBzBfEQ6AEIKTAA |date=28 December 2019 }}, University of California Press, 2009, p. 240, {{ISBN|0520257456}}</ref>

In the same year he exhibited three of his works at the group ''[[Les XX]]'' in Brussels. The Société des Vingt, short Les XX or Les Vingt, was an association founded around 1883 by Belgian artists or artists living in Belgium, including [[Fernand Khnopff]], [[Théo van Rysselberghe]], [[James Ensor]] and the siblings [[Anna Boch|Anna]] and [[Eugène Boch]].

[[File:Cezanne Ambroise Vollard.jpg|thumb|left|''[[Portrait of Ambroise Vollard (Cézanne)|Portrait of Ambroise Vollard]]'', 1899, [[Petit Palais]], Paris]]
In May 1895 he attended Monet's exhibition at the [[Durand-Ruel]] Gallery with Pissarro. He was enthusiastic but later, significantly, identified 1868 as Monet's strongest period, when he was even more influenced by Courbet. With his fellow student from the Académie Suisse, Achille Emperaire, Cézanne went to the area around the village of [[Le Tholonet]], where he lived in the "Château Noir", which is located on the [[Montagne Sainte-Victoire]]. He often took the mountains as a theme in his paintings. He rented a hut at the nearby Bibémus quarry; Bibémus became another motif for his paintings.

[[Ambroise Vollard]], an aspiring gallery owner, opened Cézanne's first one-man show in November 1895. In his gallery, he showed a selection of 50 of around 150 works that Cézanne had sent him as a package. Vollard met Degas and Renoir in 1894 when he was exhibiting a bundle of Manet in his small shop, and they exchanged Manet works for their own works with him. Vollard also established relationships with [[Pierre Bonnard]] and [[Édouard Vuillard]], and in the same year the well-known paint dealer [[Julien Tanguy (art dealer)|Père Tanguy]]. When Tanguy died, Vollard was able to buy works by three artists who were still unknown at the time: Cézanne, Gauguin and van Gogh. The first buyer of a Cézanne painting was Monet, followed by colleagues like Degas, Renoir, Pissarro and later art collectors. Prices for works by Cézanne rose a hundredfold and Vollard, as always, profited from his stocks.<ref>{{cite web|title=Der Mann, der Cézanne entdeckte|periodical=|publisher=Die Zeit|url=http://www.zeit.de/2006/49/Der_Mann_der_Cezanne_entdeckte|url-status=live|format=|access-date=|archive-url=https://web.archive.org/web/20180926170239/https://www.zeit.de/2006/49/Der_Mann_der_Cezanne_entdeckte|archive-date=26 September 2018|last=Tobias Timm|date=30 November 2006|language=|pages=|quote=}}</ref>

In 1897, a Cézanne painting was purchased by a museum for the first time. [[Hugo von Tschudi]] acquired Cézanne's landscape painting ''The Mill on the Couleuvre near Pontoise'' in the Durand-Ruel Gallery for the [[Berlin National Gallery]].

Cézanne's mother died on 25 October 1897. In November 1899, at the insistence of his sister, he sold the now practically deserted property "Jas de Bouffan" and moved into a small city apartment at 23, Rue Boulegon in Aix-en-Provence; the planned purchase of the “Château Noir” property could not be realized. He hired a housekeeper, Mme Bremond, to look after him until his death.

===Homage to Cézanne===
[[File:Maurice Denis Homage to Cezanne 1900.jpg|thumb|Maurice Denis, ''Hommage à Cézanne'']]
The art market, meanwhile continued to react positively to Cézanne's works; Pissarro wrote from Paris in June 1899 about the auction of the Chocquet collection from his estate: “These include thirty-two Cézannes of the first rank [...]. The Cézannes will fetch very high prices and are already estimated at four to five thousand francs.” In this auction, market prices for Cézanne paintings were achieved for the first time, but they were still “far below those for paintings by Manet, Monet or Renoir.”<ref>{{cite book |last1=Adriani |title=Cézanne. Life and Work |page=85}}</ref>

In 1901 [[Maurice Denis]] exhibited his 1900 large painting ''[[Homage to Cézanne|Hommage à Cézanne]]'' in Paris and Brussels. The subject of the picture is Ambroise Vollard's gallery, which 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.<ref>{{cite web |title=Hommage à Cézanne |url=https://www.musee-orsay.fr/en/artworks/hommage-cezanne-162 |website=Musée d'Orsay |access-date=17 July 2022 |archive-date=17 July 2022 |archive-url=https://web.archive.org/web/20220717013923/https://www.musee-orsay.fr/en/artworks/hommage-cezanne-162 |url-status=live }}</ref>

===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 (Cézanne)|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, which manifested itself in growing distrust of his fellow human beings to the point of delusions of persecution.

[[File:Cézanne, Paul - Still Life with a Curtain.jpg|thumb|''Still Life with a Curtain'' (1895) illustrates Cézanne's increasing trend towards terse compression of forms and dynamic tension between geometric figures.]]
Despite the artist's increasing recognition, hateful press releases appeared and he received numerous threatening letters.<ref>{{cite book |last1=Becks-Malorny |title=Cézanne |page=81}}</ref> Cézanne's paintings were not well received among the petty [[bourgeoisie]] of Aix. In 1903 [[Victor Henri Rochefort, Marquis de Rochefort-Luçay|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".<ref name="Rochefort">[http://gallica.bnf.fr/ark:/12148/bpt6k782985b/f1.item Rochefort, Henri, ''L'Amour du laid'', L'Intransigeant] {{Webarchive|url=https://web.archive.org/web/20180119060910/http://gallica.bnf.fr/ark:/12148/bpt6k782985b/f1.item |date=19 January 2018 }}, Numéro 8272, 9 March 1903, Gallica, Bibliothèque nationale de France (French)</ref> Rochefort describes how spectators had supposedly experienced laughing fits, when seeing the paintings of "an ultra-impressionist named Cézanne".<ref name="Rochefort" /> 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".<ref>{{cite book |url={{Google books |plainurl=yes |id=lxQQZwOcrZUC |page=250 }} |title=The Unknown Matisse: A Life of Henri Matisse |access-date=19 January 2011}}</ref> "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.<ref>{{cite book |last1=Leonhard |first1=Kurt |title=Cézanne |page=77}}</ref> 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 to have burned the mementos of his mother.<ref name="Dita Amory">[https://books.google.com/books?id=C8USBQAAQBAJ&dq=c%C3%A9zanne%2C+burned+the+mementos+of+his+mother&pg=PA19 Dita Amory, et al, ''Madame Cézanne''] {{Webarchive|url=https://web.archive.org/web/20191228140809/https://books.google.com/books?id=C8USBQAAQBAJ&pg=PA19&dq=c%C3%A9zanne,+burned+the+mementos+of+his+mother&hl=en&sa=X&ved=0ahUKEwjluuTIyd_YAhWMXRQKHfK4D_oQ6AEIKTAA#v=onepage&q=c%C3%A9zanne%2C%20burned%20the%20mementos%20of%20his%20mother&f=false |date=28 December 2019 }}, Metropolitan Museum of Art, 2014, p. 19, {{ISBN|0300208103}}</ref>

[[File:Trois crânes sur un tapis d'Orient, par Paul Cézanne, 1904.jpg|thumb|left|''Three Skulls on an Oriental Carpet'']]
In 1903 he exhibited for the first time at the newly established [[Salon d'Automne]] (Paris Autumn Salon). The painter and art theorist [[Émile Bernard]] first visited him for a month in February 1904 and published an article about the painter in ''L'Occident'' magazine in July. Cézanne was then working on a [[vanitas]] still life with three skulls on an oriental carpet. Bernard reported that this painting changed colour and form every day during his stay, although it appeared complete from day one. He later regarded this work as Cézanne's legacy and summed it up: "Truly, his way of working was a reflection with a brush in his hand."<ref name="Cézanne. Life and Work">{{cite book |last1=Adriani |title=Cézanne. Life and Work |page=101}}</ref> In the memento mori still lifes that he created several times, Cézanne's increasing depression of old age was evident, which in his letters since 1896 with comments such as "life is beginning to be deadly monotonous for me" were echoed.<ref name="Cézanne. Life and Work"/> An exchange of letters with Bernard continued until Cézanne's death; he first published his memoirs Souvenirs sur Paul Cézanne in the [[Mercure de France]] in 1907, and in 1912 they appeared in book form.

[[File:Le Jardinier Vallier, par Paul Cézanne, coll. privée, 1906.jpg|thumb|''Portrait of the Gardiner Vallier'', 1906, Private collection, Cézanne's final painting before his death]]
From 15 October to 15 November 1904, an entire room of the Salon d'Automne was furnished with the works of Cézanne. In 1905 an exhibition was held in London, in which his work was also shown; the Galerie Vollard exhibited his works in June, and the Salon d'Automne followed in turn from 19 October to 25 November with 10 paintings. The art historian and patron [[Karl Ernst Osthaus]], who had founded the [[Museum Folkwang]] in 1902, visited Cézanne on 13 April 1906 in the hope of being able to purchase a painting by the artist. His wife Gertrud probably took the last photograph of Cézanne.<ref>[http://www.nytimes.com/imagepages/2006/01/27/arts/27ceza2_ready.html The last photograph of Cézannes by Gertrud Osthaus] {{Webarchive|url=https://web.archive.org/web/20180207063318/http://www.nytimes.com/imagepages/2006/01/27/arts/27ceza2_ready.html |date=7 February 2018 }}, /www.nytimes.com, accessed on 20. October 2011.</ref> Osthaus described his visit in his work ''A Visit to Cézanne'', published in the same year.

Despite the later successes, Cézanne was only ever able to approach his goals. On 5 September 1906, he wrote to his son Paul: "Finally, I want to tell you that as a painter I am becoming more clairvoyant to nature, but that it is always very difficult for me to realize my feelings. I cannot reach the intensity that unfolds before my senses, I do not possess that wonderful richness of colour that animates nature."<ref>{{cite book |last1=Adriani |title=Cézanne. Life and Work |page=53}}</ref>

===Death===
On 15 October 1906,  Cézanne was caught in a storm while working in the field.<ref name="Vollard113">Vollard, pp. 113–114</ref> After working for two hours he decided to go home; but on the way he collapsed and lost consciousness. He was taken home by a passing driver of a laundry cart.<ref name="Vollard113" /> Due to [[hypothermia]], he contracted severe [[pneumonia]]. His old housekeeper rubbed his arms and legs to restore the circulation; as a result, he regained consciousness.<ref name="Vollard113" /> The next day, Cézanne went out into the garden<ref>{{Cite book |last=Birksted |first=Jan |url=https://www.routledge.com/Landscapes-of-Memory-and-Experience/Birksted/p/book/9780419250708 |chapter=Cezanne's property |title=Landscapes of memory and experience |publisher=Spon Press, Taylor and Francis Group |year=2000 |isbn=0419250700 |editor-last=Birksted |editor-first=Jan |edition=1st |location=London and New York |pages=77–86 |access-date=15 August 2022 |archive-date=15 August 2022 |archive-url=https://web.archive.org/web/20220815155801/https://www.routledge.com/Landscapes-of-Memory-and-Experience/Birksted/p/book/9780419250708 |url-status=live }}</ref> to work on his last painting, ''Portrait of the Gardener Vallier'', and wrote an impatient letter to his paint dealer, bemoaning the delay in the delivery of paint, but later on he fainted. Vallier, with whom he was working called for help; he was put to bed, and he never left it.<ref name="Vollard113" /> His wife Hortense and son Paul received a telegram from the housekeeper, but they were too late. He died a few days later, on 22 October 1906<ref name="Vollard113" /> of pneumonia at the age of 67, and was buried at the [[Saint-Pierre Cemetery (Aix-en-Provence)|Saint-Pierre Cemetery]] in his hometown of Aix-en-Provence.<ref>{{cite web |url=http://www.mystudios.com/art/post/cezanne/cezanne.html |title=Paul Cézanne 1839–1906 |access-date=18 February 2007 |work=MyStudios.com |archive-url=https://web.archive.org/web/20070324023708/http://www.mystudios.com/art/post/cezanne/cezanne.html |archive-date=24 March 2007 |url-status=live }}</ref>