There are several ways to approach Chopin's world: the first quarter of the XX Century
the approach was exclusively hyper romantic. The romanticism as one of the lesser sons of the musical nationalism found in Chopin the symbol of an epic mind resistance. That's a very point to remark; the epic side of Chopin is in several of his works: The Twelfth Etude Op. 25, The First Scherzo, The Polonaise Op. 53.
In the other hand we have to the nostalgic mood, understood as reminiscent memories of his beloved Poland that find in the Mazurkas its best exponent.
We have a candlelight set of pieces, deeply intimate in character where the heart talks us: the Nocturnes, Impromptus, Sonatas, Barcarolle and some Etudes.
And finally we have the aristocratic sphere as the Waltzes, and works for piano and orchestra.
This brief introduction makes perhaps so difficult to play Chopin satisfactorily if you are not absolutely involved with the further spirit of every piece.
The presence of Debussy and Alexander Scriabin extended the kaleidoscopic conception: that's why the Russian school (Richter, Gilels, Bergman, Horowitz, Cherkasky) plays Chopin extremely flat and one-dimensional without ornaments and emphasis to delineate the slender arpeggios or the fortissimos.
The particular case of Artur Rubinstein is worth to mention it. He became in the best known interpreter of Chopin in the thirties, (following the left traces of Paderewski in the fist two decades of the Century) because he playing was extremely persuasive and in the other hand, being Poland the first invaded nation at the dawn of the WW2. Some of his musical sons were Malcuzinsky and Brailovsky.
Two legendary pianists: Arturo Benedetti Michelangeli (whose principal musical son was Ivan Moravec) and Alfred Cortot established perhaps the most interesting approach around Chopin, specially in this last artist and that was possibly due the strong musical collaboration with Pau Casals. Somehow he found the way to separate the different facets of Chopin, and the best proof that strengths this comment were his three best pupils: Samson Francois, Dinu Lipatti and Clara Haskill.Finally we have two categories: the group of colorist pianists, capable to create atmospheres, restrained in expression but a valid approach if you are provided of a virtuoso technique of first order: Freire belongs this school; but the list is enormous : Ashkenazy, Kapell, Simon, Zimmermann, Guiomar Novaes, Radu Lupu, Andras Schiff, Marta Argerich, Arrau, Emanuel Ax, Tamás Vasary, Malcom Frager and basically the British school; and the other group composed by the supreme conviction that Chopin's playing turns around an accurate mix of technique and objectiveness such Maurizio Pollini,and Ivo Porgorelich whose vision is to lead the facts to the feelings and not vice versa.