Abstract
The 1907 Salon d’Automne included a Cézanne retrospective. Comprising fifty-six of his works, most of them oils, it featured a group of late paintings, among them some nominally “unfinished.” It had not been until his final years that the painter had begun to have wider public appeal. Now he had become the focus of attention of the avant-garde. Leo Stein recounted this transformation: “Hitherto Cézanne had been important only for the few; he was about to become important for everybody. At the Salon d’Automne of 1905 people laughed themselves into hysterics before his pictures, in 1906 they were respectful, and in 1907 they were reverent. Cézanne had become the man of the moment.” And Picasso would say: “For us, Cézanne was like a mother who protects her children ... He was my one and only master ... I’ve spent years studying his pictures ... Cézanne! He was as you might say a father to us all. It was he who protected us.” The article explores the influence the Master of Aix had on both the Spaniard and his French colleague Georges Braque as they developed the ideas of what would become Cubism.
Highlights
Ten of Paul Cézanne's (b. 1839) works were still being displayed at the running Salon d’Automne when he died in Aix-en-Provence on October 22, 1906. 3 Of the painter Daniel-Henry Kahnweiler, Picasso's dealer, had said: “[He is] the point of departure for all painting today.”[4]
Cézanne had become the man of the moment.”[1]. And Picasso would say: “For us, Cézanne was like a mother who protects her children
Of the master of Aix Picasso would say: “The reason why Cézanne was Cézanne is that he did concentrate: when he was confronted with a tree he looked hard at what was there before his eyes; he looked at it as hard as a man with a gun aiming at his quarry
Summary
Ten of Paul Cézanne's (b. 1839) works were still being displayed at the running Salon d’Automne when he died in Aix-en-Provence on October 22, 1906. 3 Of the painter Daniel-Henry Kahnweiler, Picasso's dealer, had said: “[He is] the point of departure for all painting today.”[4]. Salon between Cézanne and Gauguin, on the one hand, and the new generation of artists, on the other.[5] Derain had moved to Montmartre, where he had taken the studio on rue Tourlaque (toward the bottom of rue Lepic) previously occupied by Pierre Bonnard, choosing Picasso’s territory over Matisse’s Quartier Latin.[6] His defection from the older painter’s group was the more opportune for coming at a time when Pablo was mustering all his resources to win out over his rival. He was deeply interested in African art, which he collected.[8]
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