only to tell you that as soon as he got here he talked about returning.' Cézanne painted a portrait of Zola that Zola had asked him to paint to encourage his friend; but Cézanne was unsatisfied with the result and destroyed the picture. In September 1861, disappointed by his rejection at the École, Cézanne returned to Aix-en-Provence and worked again in his father's bank. But already in the late autumn of 1862 he moved to Paris again. His father secured his subsistence level with a monthly bill of over 150 francs. The traditional École des Beaux-Arts rejected him again. He therefore attended the Académie Suisse again, which promoted Realism. During this time he got to know many young artists, after Pissarro also Claude Monet, Pierre-Auguste Renoir and Alfred Sisley. In contrast to the official artistic life of France, Cézanne was under the influence of Gustave Courbet and Eugène Delacroix, who strove for a renewal of art and demanded the depiction of unembellished reality. Courbet's followers called themselves "realists" and followed his principle Il faut encanailler l'art ("One must throw art into the gutter"), formulated as early as 1849, which means that art must be brought down from its ideal height and become a matter of everyday life be made. Édouard Manet made the definitive break with historical painting, who was not concerned with analytical observation, but with the reproduction of his subjective perception and the liberation of the pictorial object from symbolic burdens. The exclusion of the works of Manet, Pissarro and Monet from the official salon, the Salon de Paris, in 1863 provoked such outrage among artists that Napoleon III had a “Salon des Refusés” (salon of the rejected) set up next to the official salon. Cézanne's paintings were shown in the first exhibition of the Salon des Refusés in 1863. The Salon rejected Cézanne's submissions every year from 1864 to 1869. He continued to submit works to the Salon until 1882. In that year artist Antoine Guillemet, a friend of Cézanne's, became a member of the Salon jury. Since each jury member had the privilege of showing a picture of one of his students, he passed off Cézanne as his student and secured his first participation at the Salon. He exhibited Portrait de M. L. A., probably Portrait of Louis-Auguste Cézanne, The Artist's Father, Reading "L'Événement", 1866 (National Gallery of Art, Washington, D.C.), although the painting was hung