Editing Paul Cézanne (section)

===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>