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The House of the Hanged Dead (1873): The self-breakthrough of the Impressionist period This early work, in the Musée d'Orsay, documents the complex relationship between Cézanne and Impressionism, with sloping roofs and distorted perspectives still bearing expressionist traces, but the short brushstrokes have already revealed the rudiments of color analysis, and the blue-purple shades on the ochre walls foreshadow the later exploration of color structures, and the empty doors and windows in the painting are like missing answers, suggesting the artist's questioning of traditional painting rules.

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Mont Saint-Victoire (1882-1906): a spiritual schema of the geological landscape On the outskirts of Aix-en-Provence, Cézanne spent more than twenty years depicting the same mountain over and over again, now in a late edition of the Philadelphia Museum of Art, in which the mountain is broken down into intertwined patches of color, the slope of the pine trees in the foreground and the movement of the mountains form a dynamic equilibrium, and the painter abandons the aerial perspective and uses the juxtaposition of warm and cold color blocks to express the depth of space: the collision of ochre and ultramarine produces a trembling light effect, and the transition between olive green and earthy yellow suggests geological changes.
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