the influence of Cézanne on his art as an "initiation" and said in 1961: "Cézanne was the first to turn away from the learned mechanized perspective." Picasso admitted that "he was the only master for me ..., he was a father figure to us: it was he who offered us protection." Cézanne expert Götz Adriani notes, however, that the Cézanne's reception by Cubists – particularly by the Albert Gleizes and Jean Metzinger, who placed Cézanne at the beginning of their way of painting in their 1912 treatise Du "Cubisme" – was arbitrary because they largely ignored the motivation gained from observing nature. In this context, he points to the formalistic misinterpretations that refer to Émile Bernard's published paper from 1907, which refers to a 1904 letter Cézanne wrote advising him to "treat nature according to cylinder, sphere and cone" Further misinterpretations of this kind can be found in Kazimir Malevich's 1919 text On the New Systems in Art. In his quote, Cézanne did not intend to reinterpret the experience of nature in the sense of orienting himself towards cubic form elements; he was more concerned with corresponding to the object forms and their colouring under the various aspects in the picture. One of the many examples of Cézanne's influence on modernism is the 1888 painting Mardi Gras in the Pushkin Museum, which shows his son Paul with his friend Louis Guillaume and in costumes from the Commedia dell'arte. Picasso took inspiration from it for the harlequin theme in his pink period. Matisse, in turn, took up the theme of the most classic painting in the Bathers series, The Great Bathers from the Philadelphia Museum of Art, in his 1909 painting The Bathers. Numerous artists were inspired by Cézanne's work. The painter Paula Modersohn-Becker saw Cézanne's paintings in Paris in 1900, which deeply impressed her. Shortly before her death, she wrote to Clara Westhoff in a letter on 21 October 1907 : "I am thinking and thinking a lot these days about Cézanne and how he is one of the three or four painters who struck me like a thunderstorm or a major event.” Paul Klee noted in his diary in 1909: “Cézanne is a teacher par excellence for me” after seeing more than a dozen paintings by Cézanne in the Munich Secession. The artist group Der Blaue Reiter referred to him in their 1912 almanac when Franz Marc reported on