Even though Monet and Cézanne had different approaches and angles on painting in terms of Style (Cézanne being considered a Post Impressionist artist, as opposed to Monet's Impressionist reputation), they were both trying to evoke the world around them the way an immediate observation captures it, but using different strategies to evoke different things. When looking at Monet's painting "Gare St-Lazard" ("L'arrivée du train" - 1877), we notice a common use of open brush - to the point that in both paintings we see the media before the subject matter. It's so visible that experts have noticed that the brushwork (short and parallel) in Cézanne's face is the same as those in Joachim's Portrait - another work by Cézanne from 1896. There is a primacy of colors over drawing - with an interest in making them as vibrant as possible. For both of them, lines are products of colors. This conviction tends to compromise the rules of perspective and the rendition of a proper 3D space - since impressionist objects and their environnement look more flat (Cézanne pushed it further with painting objects from multiple points of perspective). In order to make elements in his painting "vibrate," Monet juxtaposes colors to each other (parallel to one another). By over-using this strategy all over the painting, each element tends to "dissolve behind [its] atmospheric display" - giving an "impression"[Danchev] of those objects on our interpretation. As a result no object has ever enough density to keep its own attention. To formulate this in terms of balance of elements in a composition, no element has more weight than any other - implying that our eyes keep spinning quickly from one element to the other to get the global impression of the scene depicted. Cézanne wanted to restore some density on the canvas, and give some more weight to objects.