"[I]n 1892, Cézanne executed one of his most important works, '... It was in this same year that I saw Cézanne's pictures for the first time. It was at Tanguy's... Père Tanguy, a color merchant on a small scale, was the benefactor of more than one unrecognized artist. He considered himself something of a "rebel" because he had not been shot down under the Commune by the party of law and order. In reality he was just a good old soul who extended credit to impecunious artists, and took a passionate interest in their work. But he had a marked predilection for those whom he called with respectful emphasis, "the gentlemen of the School": Guillaumin, Van Gogh, Pissarro, and Vignon, to mention only a few. To his way of thinking, being one of the "School" was equivalent to being "modern": which meant that one must banish "tobacco juice" from the palette forever, and paint "thick." But with good-hearted indulgence, he grudgingly bestowed his respect... upon the luckless painter who honestly sought to earn his daily bread with ivory black. And if the truth were known, Père Tanguy, in common with the very "philistines" whom he scorned, was convinced at the bottom of his heart that hard work and good behavior were not merely prerequisites, but indispensable elements of success. Accordingly, referring to the author [Cézanne] of a picture done with the forbidden "thin mediums," he said candidly, "He's not one of the 'School'; he'll have a hard time arriving. But he'll get there in the end; he never plays the races and he doesn't drink a drop!""