when he described Cézanne's works as “strange yet real” and as “revelations”. designated. The art dealer Ambroise Vollard first came into contact with Cézanne's works in 1892 through the paint dealer Tanguy, who had exhibited them in his shop in the Rue Clauzel in Montmartre in return for the delivery of painting utensils . Vollard recalled the lack of response: the shop was rarely visited, "since it was not yet fashionable at the time to buy 'atrocious works' expensively, not even cheaply." Tanguy even took interested parties to the painter's studio, to which he had a key where small pictures and 100 francs large pictures could be bought at a fixed price of 40 francs. The Journal des Artistes echoed the general tone of the time, anxious to ask whether its sensitive readers would not be sickened at the sight of "these oppressive abominations, which exceed the measure of evil permitted by law." The art critic Gustave Geffroy was one of the few critics who judged Cézanne's work fairly and unreservedly during his lifetime. As early as 25 March 1894, he wrote in the Journal about the then current relationship between Cézanne's painting and the efforts of younger artists, that Cézanne had become a kind of forerunner to which the Symbolists referred, and that there was a direct connection between Cézanne's painting and of the Gauguins, Bernards and even Vincent van Goghs. A year later, after the successful exhibition at the Vollard Gallery in 1895, Geffroy again led the Journal: "He is a great truth fanatic, fiery and naive, harsh and nuanced. He will go to the Louvre.” Between these two chronicles, Cézanne painted the portrait of Geffroy, which Cézanne left unfinished because he was dissatisfied with it. Posthumous exhibitions Two retrospectives posthumously paid tribute to the artist in 1907. From 17 to 29 June, the Bernheim-Jeune gallery in Paris showed 79 watercolours by Cézanne. The 5th Salon d'Automne then paid homage to him from 5 October to 15 November, exhibiting 49 paintings and seven watercolours in two rooms in the Grand Palais. Visitors included the art historian Julius Meier-Graefe, who would write the first Cézanne biography in 1910, Harry Graf Kessler and Rainer Maria Rilke. The two exhibitions motivated many artists, such as Georges Braque, André Derain, Wassily Kandinsky, Henri Matisse and Pablo Picasso, on their crucial insights for 20th century art. In 1910, some of Cézanne's paintings were