With reference to two early paintings, Portrait of Achille Emperaire, ca.1867 (Paris, Musée d'Orsay) and Portrait of Louis-Auguste Cézanne, Father of the Artist, Reading 'L'Evénement', 1866 (Washington, National Gallery), argues that the young Cézanne's works from his Paris years involved deliberate strategies aimed to formulate the artist's aesthetic, political, and social concerns in opposition to what he perceived as the bourgeois stalement perpetrated by the state and the Ecole des Beaux-Arts (Paris).
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