Editing Paul Cézanne (section)

===Testimonies of contemporary friends and painters===
{{Blockquote|Yes, Cézanne, he is the greatest of us all!<ref>{{cite book |last1=Adriani |title=Cézanne. Life and Work |page=56}}</ref>|[[Claude Monet]] to [[Georges Clemenceau]]}}
Cézanne's childhood friend, the writer [[Émile Zola]], was skeptical about Cézanne's human and artistic qualities, saying as early as 1861 that "Paul may have the genius of a great painter, but he will never have the genius to actually become one. The slightest obstacle drives him to despair."<ref>{{cite book |last1=Adriani |title=Cézanne. Watercolours |page=33}}</ref> In fact, it was Cézanne's self-doubt and refusal to make artistic compromises, as well as his rejection of social concessions, that led his contemporaries to regard him as an oddball.<ref>{{cite book |last1=Becks-Malorny |title=Cézanne |page=7}}</ref>

Cézanne's works were rejected numerous times by the official Salon in Paris and ridiculed by art critics when exhibited with the Impressionists. Yet during his lifetime, Cézanne was considered a master by younger artists who visited his studio in Aix.<ref name="PMoA">{{cite web|url=http://www.philamuseum.org/education/resources/62.html|title=Philadelphia Museum of Art|author=Philadelphia Museum of Art|work=philamuseum.org|url-status=dead|archive-url=https://web.archive.org/web/20131114032910/http://www.philamuseum.org/education/resources/62.html|archive-date=14 November 2013}}</ref> In the circle of the Impressionists, however, Cézanne was given special recognition; [[Camille Pissarro]], Pierre-Auguste Renoir, Claude Monet and [[Edgar Degas]] spoke enthusiastically about his work, and Pissarro said: "I think it will be centuries before we get an account of it."<ref>{{cite book |last1=Adriani |title=Cézanne. Life and Work |page=111}}</ref>
[[File:Salon d'Automne, 1904, Ambroise Vollard, Salle Cézanne.jpg|thumb|280px|View of the 1904 Salon d'Automne, photograph by [[Ambroise Vollard]], Salle Cézanne (''Victor Choquet'', ''Baigneuses'', etc.)]]

A portrait of Cézanne was painted by his friend and mentor Pissarro in 1874, and in 1901 the co-founder of the [[Les Nabis|Nabis]] group, [[Maurice Denis]], created ''Hommage à Cézanne'', showing Cézanne's painting ''Still Life with Fruit''<ref>{{cite web|title=Maurice Denis: ''Hommage à Cézanne''|periodical=|publisher=Impressionism Art Gallery|url=http://www.impressionism-art.org/data/media/75/denis-moris-03.JPG|url-status=live|format=|access-date=29 November 2008|archive-url=https://web.archive.org/web/20120131060118/http://www.impressionism-art.org/data/media/75/denis-moris-03.JPG|archive-date=31 January 2012|last=|date=|year=|language=|pages=|quote=}}</ref> on the easel amidst artist friends at the Vollard Gallery. Originally owned by [[Paul Gauguin]], Hommage à Cézanne was later acquired by French writer and Denis' friend, [[André Gide]], who owned it until 1928. It is now on display at the Musée d'Orsay .