Carol Armstrong (Princeton: Princeton University 534- Clearly Cezanne's provincial persona was Art Museum, 2002), 13-25, esp. 14; also in Gôtz modeled on that of Courbet, who had deliberately Adriani, Cézanne Watercolors, trans. Russell M. fashioned himself as a rural outsider in the Parisian Stockman (New York: Harry N. Abrams, 1983), 21. art world in the 18405 and 18505. See T. J. Clark, Image of the People: Gustave Courbet and the 7. "Quand j'étais a Aix, il me semblait que je 1848 Revolution (Princeton: Princeton University serais mieux autre part, maintenant que je suis ici, Press, 1982). je regrette Aix" (Cézanne to Solari, Talloires, July 23, 1896, cited in Denis Coutagne and Bruno Ely, Les 13. Pissarro to his son Lucien, December 4, 1895, Sites cézanniennes du pays d'Aix: Hommage à in Janine Bailly-Herzberg, éd., Correspondance John Rewald [Paris: Réunion des Musées Nationaux, de Camille Pissarro (Paris: Presses universitaires 1996], 197). de Paris, 1980-91), vol. 4, no. 1181, 128, cited in Cachin and Rishel, Cézanne, 531. 8. "Et n'eût été que j'aime énormément la con- figuration de mon pays, je ne serai pas ici." What 14. "Ce peintre trop oublié, M. Cézanne" (}. K. he complained of were "les prétensions des intel- Huysmans, "Cézanne" [1888], in Certains, in L'art lectuels de mon pays, tas d'enculés, de crétins moderne/Certains [Paris: Union générale d'éditions, et de drôles—les steppes de la bonne ville d'Aix" 2 1 WSl» ? )- (ibid., 228). 15. L'Oeuvre, or The Masterpiece, came out early in 9. "En nous ne s'est pas endormie la vibration de 1886, and Cézanne wrote to Zola for the last time in sensations répercutées de ce bon soleil de Provence, March of that year, thanking him coldly and speak- nos vieux souvenirs de jeunesse, de ces horizons, ing of their friendship in the past tense. Zola's novel de ces paysages, de ces lignes inouïes, qui laissent was an updating of two artist stories that Cézanne en nous tant d'impressions profondes" (Cézanne admired, Balzac's Le Chef d'oeuvre inconnu and the to Henri Gasquet, June 1899, cited ibid., 198). Concourt brothers' Manette Salomon, but it also rep- resented an indictment of modern art and a slander- 10. Complaining about the old Aix, Cézanne also ous characterization of Cézanne, whose irregular bemoaned the efforts to modernize it, concluding, relationship with Hortense and soon-to-be-famous "J'y suis né; j'y mourrai. . . . Aujourd'hui tout change anxieties about women, not to mention his black en réalité, mais non pour moi, je vis dans la ville moods and ill-controlled temper, were thinly veiled de mon enfance, et c'est dans le regard des gens and combined with the figures of Manet and Monet de mon âge que je revois le passé" (ibid., 228). in the failed, suicidal protagonist Claude Lantier. The Masterpiece amounted to a reversal of Zola's 11. Cézanne tried twice to get into the Ecole des earlier championing of Manet and the "new paint- Beaux Arts in the early sixties, without success. ing" and, in Cezanne's view, a betrayal of their child- After that, he submitted works to the Salon in 1863, hood friendship. See Robert J. Niess, Zola, Cézanne, 1865, 1866, 1867, 1868, 1869, 1870, 1872, 1876, and Manet: A Study of "L'Oeuvre" (Ann Arbor: l88o l88l l882 and l88 He nad University of Michigan Press, 1968); J. Berg, The 1879, > > > 4- a still life in the Salon des Refusés of 1863 and a portrait Visual Novel: Emile Zola and the Art of His Times accepted into the Salon of 1882, but only because he (University Park: Pennsylvania State University got around the jury by listing himself as a student Press, 1992); and my Manet Manette (New Haven of another painter, a loophole that was rescinded and London: Yale University Press, 2002), 64-68. the following year. Otherwise none of his Salon sub- missions was accepted. He did not participate in any 16. Van Gogh to Bernard, August 1888, in Vincent of the Impressionist exhibitions after 1877 but did van Gogh, Correspondance générale, trans. Maurice begin exhibiting with Les Vingt in Brussels in 1889. Beerblock and Louis Roëlandt (Paris, 1990), vol. 3, Thereafter he had other exhibition opportunities, 236-40; cited in Cachin and Rishel, Cézanne, 548. he began to acquire a critical following, and he was financially independent because of the inheritance 17. Cezanne's friends and family disliked Hortense, he received after the death of his father in 1886. and following the fine old tradition of the wife as But up until then he was alone among the "new the impediment to the genius, most accounts of painters" in his utter lack of Salon success and his Cezanne's life have been unsympathetic to her and persistence in spite of it. laid the blame for the difficulties between the couple at her door. But Cézanne himself cannot have 12. Théodore Duret, Histoire d'Edouard Manet et been easy to live with. Indeed, there is at least one son oeuvre (Paris: H. Floury, 1902), 63-64; Adolphe suggestion that he may have been all but schizo- Tabarant, Manet et ses oeuvres (Paris: Gallimard, phrenic; see Maurice Merleau-Ponty, "Cezanne's 1947), 117; cited in Cachin and Rishel, Cézanne, Doubt," in Sense and Non-sense, trans. Hubert L. 42 CÉZANNE IN THE STUDIO