Editing Paul Cézanne (section)

===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>