Editing Paul Cézanne (section)

===Influence on modernity and misinterpretations===
{{blockquote|Cézanne! Cézanne was the father of all of us.|Pablo Picasso<ref>{{cite book|title=Menschen- und Weltbilder moderner Malerei S.&nbsp;173|publisher=Beckmann Verlag|url=https://books.google.com/books?id=_4SRBkDsaMkC&dq=unser+aller+vater++picasso+cezanne&pg=PA173|format=|access-date=2008-11-06|last=Bernard Grom|year=2003|language=|pages=|isbn=9783833011252|quote=}}</ref>}} 
{{blockquote|A kind of dear god of painting.|Henri Matisse<ref>{{cite book |last1=Adriani |title=Cézanne. Paintings |page=14}}</ref>}}
Many "productive" misunderstandings lie hidden in the reception of the works and the supposed intentions of Cézanne, which had a considerable influence on the further course and development of modern art.<ref>{{cite book |last1=Adriani |title=Cézanne. Paintings |page=27}}</ref> The list of those artists who more or less justifiably referred to him and who coined individual elements from the wealth of his creative approaches for their own pictorial inventions shows an almost complete art history of the 20th century. As early as 1910, [[Guillaume Apollinaire]] stated that "most of the new painters claim to be successors of this serious painter who was only interested in art".<ref>{{cite book |last1=Adriani |title=Cézanne. Life and Work |page=109}}</ref>

Immediately after Cézanne's death in 1906, stimulated by a comprehensive exhibition of his watercolours in the spring of 1907 at the ''Galerie Bernheim-Jeune'' and a retrospective in October 1907 at the ''Salon d'Automne'' in Paris, a lively examination of his work began.<ref>{{cite book |last1=Cousins |first1=Judith |title=Picasso and Braque |date=1990 |publisher=Prestel |location=Munich |isbn=3-7913-1046-1}}</ref> Among young French artists, [[Henri Matisse]] and [[André Derain]] were the first to become passionate about Cézanne, followed by Picasso, [[Fernand Léger]], [[Georges Braque]], [[Marcel Duchamp]] and [[Piet Mondrian]].<ref name="Cézanne. Paintings">{{cite book |last1=Adriani |title=Cézanne. Paintings |page=31}}</ref> This enthusiasm was lasting, as the eighty-year-old Matisse said in 1949 that he owed the most to the art of Cézanne.<ref name="ReferenceB"/> Braque also described the influence of Cézanne on his art as an "initiation" and said in 1961: "Cézanne was the first to turn away from the learned mechanized perspective."<ref name="Cézanne. Paintings"/> Picasso admitted that "he was the only master for me ..., he was a father figure to us: it was he who offered us protection."<ref name="ReferenceC">{{cite book |last1=Adriani |title=Cézanne. Life and Work |page=114}}</ref>

Cézanne expert [[Götz Adriani]] notes, however, that the Cézanne's reception by Cubists – particularly by the [[Albert Gleizes]] and [[Jean Metzinger]], who placed Cézanne at the beginning of their way of painting in their 1912 treatise ''[[Du "Cubisme"]]'' – was arbitrary because they largely ignored the motivation gained from observing nature.<ref name="ReferenceD">{{cite book |last1=Adriani |title=Cézanne. Life and Work |page=115}}</ref> In this context, he points to the formalistic misinterpretations that refer to [[Émile Bernard]]'s published paper from 1907, which refers to a 1904 letter Cézanne wrote advising him to "treat nature according to cylinder, sphere and cone"<ref>{{Cite news |last=Reff |first=Theodore |date=October 1977 |title=Cézanne on Solids and Spaces |language=en-US |volume=16 |work=Artforum |issue=2 |url=https://www.artforum.com/print/197708/cezanne-on-solids-and-spaces-35965 |access-date=4 February 2023 |issn=0004-3532 |archive-date=4 February 2023 |archive-url=https://web.archive.org/web/20230204171031/https://www.artforum.com/print/197708/cezanne-on-solids-and-spaces-35965 |url-status=live }}</ref> Further misinterpretations of this kind can be found in [[Kazimir Malevich]]'s 1919 text ''On the New Systems in Art''.<ref name="ReferenceD"/> In his quote, Cézanne did not intend to reinterpret the experience of nature in the sense of orienting himself towards cubic form elements; he was more concerned with corresponding to the object forms and their colouring under the various aspects in the picture.

[[File:Mardi gras, par Paul Cézanne, Yorck.jpg|thumb|left|''Mardi Gras (Pierrot et Arlequin)'', 1888, [[Pushkin Museum]], Moscow]]
One of the many examples of Cézanne's influence on modernism is the 1888 painting ''Mardi Gras'' in the [[Pushkin Museum]], which shows his son Paul with his friend Louis Guillaume and in costumes from the [[Commedia dell'arte]]. Picasso took inspiration from it for the harlequin theme in his pink period. Matisse, in turn, took up the theme of the most classic painting in the Bathers series, ''The Great Bathers'' from the Philadelphia Museum of Art, in his 1909 painting The Bathers.<ref>{{cite book |last1=Becks-Malorny |title=Cézanne |pages=82–89}}</ref>

Numerous artists were inspired by Cézanne's work.<ref name="ReferenceE">{{cite book |last1=Adriani |title=Cézanne. Life and Work |page=117}}</ref> The painter [[Paula Modersohn-Becker]] saw Cézanne's paintings in Paris in 1900, which deeply impressed her. Shortly before her death, she wrote to [[Clara Westhoff]] in a letter on 21 October 1907 : "I am thinking and thinking a lot these days about Cézanne and how he is one of the three or four painters who struck me like a thunderstorm or a major event.”<ref>{{cite book |last1=Bohlmann-Modersohn |first1=Marina |title=Paula Modersohn-Becker – A Biography with Letters |date=2007 |publisher=Verlag |location=Munich |isbn=978-3-442-72169-6 |page=282}}</ref> [[Paul Klee]] noted in his diary in 1909: “Cézanne is a teacher par excellence for me” after seeing more than a dozen paintings by Cézanne in the [[Munich Secession]].<ref>{{cite web|title=Cézanne und seine Zeitgenossen|periodical=|publisher=Universität Bern|url=http://www.ikg.unibe.ch/index.php?semester_id=20&aid=1&nid=23|url-status=|format=|access-date=2 October 2012|archive-url=https://web.archive.org/web/20090510042922/http://www.ikg.unibe.ch/index.php?semester_id=20&aid=1&nid=23|archive-date=10 May 2009|last=Oskar Bätschmann|date=|year=|language=|pages=|quote=}}</ref> The artist group [[Der Blaue Reiter]] referred to him in their 1912 almanac when [[Franz Marc]] reported on the kinship between [[El Greco]] and Cézanne, whose works he understood as the gateways to a new era of painting.<ref name="Cézanne. Paintings"/> Again, Kandinsky, who had seen Cézanne's painting at the 1907 retrospective at the ''Salon d'Automne'', refers to Cézanne in his 1912 treatise ''On the Spiritual in Art'', in whose work he found a "strong resonance of the abstract." recognized and found the spiritual part of his beliefs predetermined in him.<ref name="ReferenceC"/> [[El Lissitzky]] emphasized his importance for the [[Russian avant-garde]] around 1923, and [[Vladimir Lenin|Lenin]] suggested erecting monuments to the heroes of the world revolution in 1918; on the roll of honor were [[Gustave Courbet|Courbet]] and Cézanne.<ref name="ReferenceE"/> Next to Matisse, [[Alberto Giacometti]] dealt most extensively with Cézanne's style of representation. [[Aristide Maillol]] worked on a Cézanne monument in 1909, but failed due to rejection by the city of Aix-en-Provence.<ref>{{cite book |last1=Adriani |title=Cézanne. Paintings |page=33}}</ref> Cézanne was also an important authority for artists of the newer generation. [[Jasper Johns]] described him as the most important role model alongside Duchamp and [[Leonardo da Vinci]].

Inspired by Cézanne, [[Albert Gleizes]] and [[Jean Metzinger]] wrote:
<blockquote>Cézanne is one of the greatest of those who changed the course of art history ... From him we have learned that to alter the colouring of an object is to alter its structure. His work proves without doubt that painting is not—or not any longer—the art of imitating an object by lines and colours, but of giving plastic [solid, but alterable] form to our nature. (''[[Du "Cubisme"]]'', 1912)<ref name="PMoA" /><ref>Albert Gleizes, Jean Metzinger, ''[[Du "Cubisme"]]'', Edition Figuière, Paris, 1912 (First English edition: ''Cubism'', T. Fisher Unwin, London, 1913)</ref></blockquote>

Along with the work of [[Vincent van Gogh]] and [[Paul Gauguin]], the work of Cézanne, with its sense of immediacy and incompletion, critically influenced Matisse and others prior to [[Fauvism]] and [[Expressionism]].<ref>[https://books.google.com/books?isbn=022623777X Richard Shiff, ''Cézanne and the End of Impressionism: A Study of the Theory, Technique, and Critical Evaluation of Modern Art''], University of Chicago Press, 2014, pp. 55–61, {{ISBN|022623777X}}</ref><ref>{{Cite news|url=https://www.theartstory.org/artist-cezanne-paul.htm|title=Paul Cézanne Overview and Analysis|work=The Art Story|access-date=17 August 2018|language=en-US|archive-url=https://web.archive.org/web/20180817225544/https://www.theartstory.org/artist-cezanne-paul.htm|archive-date=17 August 2018|url-status=live}}</ref> Cézanne's explorations of geometric simplification and optical phenomena inspired [[Pablo Picasso|Picasso]], [[Georges Braque|Braque]], [[Jean Metzinger|Metzinger]], [[Albert Gleizes|Gleizes]], [[Juan Gris|Gris]] and others to experiment with ever more complex views of the same subject and eventually to the fracturing of form. Cézanne thus sparked one of the most revolutionary areas of artistic enquiry of the 20th century, one which was to affect profoundly the development of [[modern art]]. Picasso referred to Cézanne as "the father of us all" and claimed him as "my one and only master!" Other painters such as [[Edgar Degas]], [[Pierre-Auguste Renoir]], [[Paul Gauguin]], [[Kasimir Malevich]], [[Georges Rouault]], [[Paul Klee]], and [[Henri Matisse]] acknowledged Cézanne's genius.<ref name="PMoA" />

Ernest Hemingway compared his writing to Cézanne's landscapes.<ref>{{Cite journal|last=Johnson|first=Kenneth|date=1984|title=Hemingway and Cézanne: Doing the Country|journal=American Literature|volume=56|issue=1|pages=28–37|doi=10.2307/2925913|jstor=2925913}}</ref><ref>{{Cite journal|last=Herlihy|first=Jeffrey|url=https://www.academia.edu/982945|title=In Paris or Paname: Hemingway's Expatriate Nationalism|journal=In Paris or Paname|publisher=Rodopi/Brill|year=2011|location=Amsterdam|pages=61|access-date=9 August 2020|archive-date=17 August 2019|archive-url=https://web.archive.org/web/20190817062441/https://www.academia.edu/982945/In_Paris_or_Paname_Hemingways_Expatriate_Nationalism_Preview_|url-status=live}}</ref> As he describes in [[A Moveable Feast]], I was "learning something from the painting of Cézanne that made writing simple true sentences far from enough to make the stories have the dimensions that I was trying to put in them."

Cézanne's painting ''[[The Boy in the Red Vest]]'' was stolen from a Swiss museum in 2008. It was recovered in a Serbian police raid in 2012.<ref>{{cite web |url=https://www.cbsnews.com/news/serb-police-find-stolen-cezanne-painting/ |title=Serb police find stolen Cezanne painting |work=CBS News |date=12 April 2012 |access-date=23 May 2012 |archive-url=https://web.archive.org/web/20120509220456/http://www.cbsnews.com/8301-202_162-57413071/serb-police-find-stolen-cezanne-painting/ |archive-date=9 May 2012 |url-status=live }}</ref>