shown in the Manet and the Post-Impressionists exhibition in London (another one followed in 1912). The exhibition had been initiated by the painter and art critic Roger Fry in the Grafton Galleries, which wanted to introduce English art lovers to the work of Édouard Manet, Georges Seurat, Vincent van Gogh, Paul Gauguin and Cézanne. Fry used the name to describe the Post-Impressionist style . Although the exhibition was judged negatively by critics and the public, it was to be significant in the history of modern art. Fry recognized the extraordinary value of the path that artists such as van Gogh and Cézanne had taken in expressing their personal feelings and worldview through their paintings, even if visitors at the time could not yet understand this. Cézanne's first exhibition in the United States took place in 1910/11 at Gallery 291 in New York. In 1913 his works were exhibited at the Armory Show in New York ; it was a groundbreaking exhibition of modern art and sculpture, although here too the exhibits were met with criticism and ridicule. Today, these artists, who were criticized and ridiculed even by their own art academies during their lifetime, are regarded as the fathers of modern art. Influence on modernity and misinterpretations Many "productive" misunderstandings lie hidden in the reception of the works and the supposed intentions of Cézanne, which had a considerable influence on the further course and development of modern art. The list of those artists who more or less justifiably referred to him and who coined individual elements from the wealth of his creative approaches for their own pictorial inventions shows an almost complete art history of the 20th century. As early as 1910, Guillaume Apollinaire stated that "most of the new painters claim to be successors of this serious painter who was only interested in art". Immediately after Cézanne's death in 1906, stimulated by a comprehensive exhibition of his watercolours in the spring of 1907 at the Galerie Bernheim-Jeune and a retrospective in October 1907 at the Salon d'Automne in Paris, a lively examination of his work began. Among young French artists, Henri Matisse and André Derain were the first to become passionate about Cézanne, followed by Picasso, Fernand Léger, Georges Braque, Marcel Duchamp and Piet Mondrian. This enthusiasm was lasting, as the eighty-year-old Matisse said in 1949 that he owed the most to the art of Cézanne. Braque also described