Editing Paul Cézanne (section)

===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.