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Paris. Cafés, amis et impressions
Paris, Louvre Museum
Paul Cézanne. 1892
I visited the Louvre assiduously,
thirsty for these works and these rooms.
There, I admired masterpieces by Caravaggio, Titian, Rubens, Michelangelo, Velázquez and the latest trends in contemporary art. I began to attend courses at the Académie Suisse, a training institute frequented by a huge number of aspiring painters who were looking for models to hire at low prices. In these corridors,
I became friends with Manet, Monet and Pissarro. In spite of myself, my stay in Paris was anything but fruitful. I let my insecurities hold me back and I never managed to fit into the capital's varied and fertile social and artistic fabric. I realised that I was my own true enemy when I destroyed a portrait that I had been working on for a long time,
but which I considered unworthy of existence... Although I accepted Impressionism and shared its objectives, I never identified with it totally. In some ways, in fact, I considered myself more of a "post-impressionist" painter. I made the blob style my own: I painted in patches of colour, as if each brushstroke were a piece of a mosaic,
which only made sense when it was united with the others in reassembling an object and became defined by the space between the painting and the viewer. I used colour to construct forms and, because of this, each brushstroke was dense and energetically applied.
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