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and the results he had achieved. The Impressionists rejoiced. Camille Pissarro wrote to his son Lucien: “My admiration is nothing compared to Renoir’s delight. Even Degas fell under the spell of this refined barbarian. Monet too, and all of us… really, could we have been mistaken? I don’t think so.”[10] The critics, on the whole, were horrified. However, the editor of the magazine Revue blanche, Thadée Nathanson, wrote that Cézanne was an original and obstinate creator. The critic appreciated the fact that Cézanne concentrated on one single aim and that he knowingly pursued it. He said, shortly before his death: “I wanted to make of Impressionism something solid and lasting like the art found in museums.”[11]

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      Примечания

      1

      “Paris”, Le Guide du Patrimoine, Paris, Hachette, 1994, p. 194

      2

      Françoise Cachin, Gauguin, Paris, 1968, p. 146

      3

      Émile Verhaeren, “Le Salon des indépendants”, L’Art moderne, April 5, 1891

      4

      Le Douanier Rousseau, Paris, 1985, p. 262

      5

      Conversations avec Cézanne, Paris, 1978, p. 89

      6

      Paul Cézanne, Correspondance, Paris, 1937, p. 71

      7

      Émile Zola, L’œuvre

Примечания

1

“Paris”, Le Guide du Patrimoine, Paris, Hachette, 1994, p. 194

2

Françoise Cachin, Gauguin, Paris, 1968, p. 146

3

Émile Verhaeren, “Le Salon des indépendants”, L’Art moderne, April 5, 1891

4

Le Douanier Rousseau, Paris, 1985, p. 262

5

Conversations avec Cézanne, Paris, 1978, p. 89

6

Paul Cézanne, Correspondance, Paris, 1937, p. 71

7

Émile Zola, L’œuvre, Paris, 1886, p. 7

8

Conversations avec Cézanne, op.cit., p. 80

9

Paul Cézanne, op.cit., p. 98

10

Jack Lindsay, Paul Cézanne, Moscow, 1989, p. 204

11

Conversations avec Cézanne, op.cit., p. 170