accepted an invitation from his friend Pissarro to work in Pontoise in the Oise Valley. Pissarro, as a sensitive artist became a mentor to the shy, irritable Cézanne; he was able to persuade him to turn away from the darker colours on his colour palette and gave him the advice: "Always only paint with the three primary colours (red, yellow, blue) and their immediate deviations." In addition, he should refrain from linear contouring, the shape of things results from the gradation of the colour tonal values. Cézanne felt that the Impressionist technique was bringing him closer to his goal and heeded his friend's advice. Pissarro later reported: "We were always together, but still each of us kept what counts alone: our own feelings." First Impressionist group exhibitions from 1874 The young painters in Paris did not see any support for their works in the Salon de Paris and therefore took up Claude Monet's plan for their own exhibition, which had been made in 1867. From 15 April to 15 May 1874, the first group exhibition of the Société anonyme des artistes, peintres, sculpteurs, engravers, later known as the Impressionists, took place. This name derives from the title of the exhibited painting Impression soleil levant by Monet. In the satirical magazine Le Charivari, the critic Louis Leroy described the group as "Impressionists" and thus created the term for this new art movement. The place of exhibition was the studio of the photographer Nadar on Boulevard des Capucines. Pissarro pushed through Cézanne's participation despite concerns from some members who feared Cézanne's bold paintings would harm the exhibition. Cézanne was influenced by their style but his social relations with them were inept—he seemed rude, shy, angry, and given to depression. In addition to Cézanne, Renoir, Monet, Alfred Sisley, Berthe Morisot, Edgar Degas and Pissarro, among others exhibited. Manet declined participation, for him Cézanne was "a mason who paints with a trowel". Cézanne in particular caused a sensation, arousing indignation and derision from the critics with his paintings such as the Landscape near Auvers and the Modern Olympia. In A Modern Olympia, created as a quote from Manet's 1863 painting Olympia, which was often reviled, Cézanne sought an even more drastic depiction and in addition to the prostitute and servant, also showed the suitor, whose figure is believed to be a self-portrait. The exhibition proved a financial failure; the final accounts showed a deficit