“If Cézanne is right, then I am right,” Matisse consoled himself in periods of doubt. He also turned to Renoir: “His nudes, the loveliest nudes ever painted: no one has done better . . . Renoir’s work rescues us from the sterility of abstraction.” Those responses illustrate Cézanne’s and Renoir’s standing in the early 20th century. A presentation at Paris’s 1904 Salon d’Automne claimed them as equals heralding modernity.
But by 1885 in the frieze-like, schematic “Trees and Houses Near the Jas de Bouffan” he combined intense expression of heat, light and atmosphere with architectonic splendour. Renoir was among the very few admirers of such paintings in the 1880s, when the two artists were closest. Cézanne gained practically from the friendship — through Renoir’s efforts, he finally, aged 56, achieved his first exhibition, in 1895. Renoir, however, gained artistically.
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