Paul Cezanne (US:  or UK: ; French: [pol sezan]; 19 January 1839 - 22 October 1906) was a French artist and Post-Impressionist painter whose work laid the foundations of the transition from the 19th-century conception of artistic endeavor to a new and radically different world of art in the 20th century. Cezanne's often repetitive, exploratory brushstrokes are highly characteristic and clearly recognizable. He used planes of colour and small brushstrokes that build up to form complex fields. The paintings convey Cezanne's intense study of his subjects.

Cezanne's paintings were shown in the first exhibition of the Salon des Refuses in 1863, which displayed works not accepted by the jury of the official Paris Salon. The Salon rejected Cezanne's submissions every year from 1864 to 1869. He continued to submit works to the Salon until 1882. In that year, through the intervention of fellow artist Antoine Guillemet, he exhibited Portrait de M. L. A., probably Portrait of Louis-Auguste Cezanne, The Artist's Father, Reading "L'Evenement", 1866 (National Gallery of Art, Washington, D.C.), his first and last successful submission to the Salon.  Before 1895 Cezanne exhibited twice with the Impressionists (at the first Impressionist exhibition in 1874 and the third Impressionist exhibition in 1877). In later years a few individual paintings were shown at various venues, until 1895, when the Parisian dealer, Ambroise Vollard, gave the artist his first solo exhibition. Despite the increasing public recognition and financial success, Cezanne chose to work in increasing artistic isolation, usually painting in the south of France, in his beloved Provence, far from Paris.  He concentrated on a few subjects and was equally proficient in each of these genres: still lifes, portraits, landscapes and studies of bathers. For the last, Cezanne was compelled to design from his imagination, due to a lack of available nude models. Like the landscapes, his portraits were drawn from that which was familiar, so that not only his wife and son but local peasants, children and his art dealer served as subjects. His still lifes are at once decorative in design, painted with thick, flat surfaces, yet with a weight reminiscent of Gustave Courbet. The 'props' for his works are still to be found, as he left them, in his studio (atelier), in the suburbs of modern Aix.  Cezanne's paintings were not well received among the petty bourgeoisie of Aix. In 1903 Henri Rochefort visited the auction of paintings that had been in Zola's possession and published on 9 March 1903 in L'Intransigeant a highly critical article entitled "Love for the Ugly". Rochefort describes how spectators had supposedly experienced laughing fits, when seeing the paintings of "an ultra-impressionist named Cezanne". The public in Aix was outraged, and for many days, copies of L'Intransigeant appeared on Cezanne's door-mat with messages asking him to leave the town "he was dishonouring".

Answer the following question by taking a quote from the article: Did he have a favorite subject?
Like the landscapes, his portraits were drawn from that which was familiar,