Trevor Winkfield
Cézanne's Mardi Gras

From Tether 1, page 133:

“Cézanne always had two audiences, the public one and the painterly one, which took the better part of a century to coalesce. One hundred years ago, if Cézanne was considered at all by the public, he could be dismissed as a madman, a denizen of that painterly loony bin whose most notorious inmate was Vincent van Gogh. A handful of misguided aesthetes were reputed to worship him as “Cézannah” but that was about as far as it went: Cézanne was no serious threat to the academy. Jumping ahead four decades, and arriving at mid-century, Modernism had not only entered the mainstream but taken it over, installing a new academy where Cézanne was increasingly viewed as an Old Master, formerly radical but now a perfectly acceptable painter of still lifes and landscapes. However, no sooner had this popular misconception taken root than a shift began to occur in History’s overview of Cézanne’s capabilities.”