Still Life in Watercolors

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Figure 40 Paul Cezanne Still Life with Blue Pot and Bottle of Wine, 1902-6 Watercolor and graphite on yellowish paper, 47.6 x 59.7 cm (i8 3 /4 x 23 1 /2 in.) New York, The Pierpont Morgan Library, 2002.61 the old movement from study to sketch to workup in a study medium to the beginning and ending of a finished tableau. Of the examples in the exhibition of watercolor still lifes that hover between the condition of the study and the status of the picture and come to occupy the new category of the tableau nonfini, perhaps Still Life with Fruit, Carafe, Sugar Bowl, and Bottle and Still Life with Green Melon (pis. 18,19) are the best ones to examine somewhat more closely. They belong to a larger set of variations on a theme ; including Still Life with Cut Watermelon (pi. 6), which refers back through Manet and Fantin- Latour to the Spanish tradition of the bodegone, in which melons were prominently featured. 10 From one to the other, they show the principal motif of the watermelon cut and whole; in the front, the side, and the back of the composition; turned one way and the other so that the long, distended side and the shorter, more spherical side are turned toward the viewer; and in relation to different objects, which themselves change from study to study, picture to picture. If I were forced to determine 95 PICTURE AND SKETCH
Plate 18 Paul C4zanne Still Life with Fruit, Carafe, Sugar Bowl, and Bottle, 1900-1906 Watercolor and graphite on white paper, 31.5 x 43.1 cm (i2 3 /s x 17 in.) Paris, Musee du Louvre, Fonds Orsay R.F. 38979 The late St/7/ Life with Fruit, Carafe, Sugar Bowl, and Bottle is among Cezanne's watercolor still lifes that hover between the condition of the study and the status of the picture, occupying the new category of the tableau non fini. It belongs to a larger set of variations on a theme, including St/7/ Life with Cut Watermelon (pi. 6) and St/7/ Life with Green Melon (pi. 19), which refer back through Edouard Manet and Henri Fantin- Latour to the Spanish tradition of the bodegone, in which melons were prominently featured. From one to the other, they show the principal motif of the watermelon cut and whole; in the front, the side, and the back of the composition; turned one way and the other so that the long, distended side and the shorter, more spherical side are turned toward the viewer; and shown in relation to different objects, which themselves change from study to study, picture to picture. This variation on the theme is one of the more tightly packed, overlapped, and watercolorlayered of the set; it is also more fully contextualized than most, with its side view of the watermelon and its table corner giving onto a bit of implied wall and floor space. 96 CEZANNE IN THE STUDIO
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CEZANNE IN THE STUDIO Still Life in
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Notes to the Reader Objects in the
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Foreword Paul Cezanne's role as the
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Lenders to the Exhibition Our thank
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Opening Lines L/ ike many a still l
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Figure 2 Paul Cezanne Still Life wi
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sometimes against the grain of the
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Terrasse, Les acquarelles de Cezann
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Figure 3 Paul Ce~zanne Still Life w
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CEZANNE PAINTED STILL LiFES from th
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palette for the dark density of the
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Figure 8 Paul Cezanne St/7/ Life wi
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went on like this, with sojourns in
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It was also in Paris that the other
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Cezanne and his wife, it became a h
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Plate 2 Paul Cezanne Head of a Chil
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Plate 3 Paul Cezanne The Artist's S
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But what have these to do with stil
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Figure 13 Paul Cezanne Madame Cezan
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Figure 14 Paul Cezanne Curtains, 18
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Plate 5 Paul Cezanne Jacket on a Ch
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Plate 6 Paul Cezanne St/7/ Life wit
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Plate 7 Paul Cezanne Still Life wit
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And then there is the baroque still
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Carol Armstrong (Princeton: Princet
Page 60 and 61: The landscape of Still seí i/s /oo
Page 62 and 63: e touched and grasped (detail 3). T
Page 64 and 65: Detail 5 Figure 17 Paul Cézanne Mo
Page 66 and 67: JHESE DAYS SOMEONE STILL LEAVES APP
Page 68 and 69: Three general observations that der
Page 70 and 71: other, though few of his compositio
Page 72 and 73: Figure 24 Gustave Courbet (French,
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Page 76 and 77: surface of the painting itself. In
Page 78 and 79: Figure 28 Paul Cézanne Young Itali
Page 80 and 81: framework for again and again learn
Page 82 and 83: the genre and the animate world of
Page 84 and 85: Plate 11 Paul Cézanne Geraniums, 1
Page 86 and 87: than anything Cézanne ever did ins
Page 88: opposite of the first, having to wi
Page 91: Detail 6 > layered surface, whose m
Page 94 and 95: of exhibitable work: the Impression
Page 96 and 97: fruits have escaped their container
Page 98 and 99: Plate 14 Paul Cézanne Apples, Bott
Page 100 and 101: posy to indicate its existence and
Page 102 and 103: Plate 16 Paul Cézanne Plaster Cupi
Page 104 and 105: Figure 36 Paul Cézanne Seated Woma
Page 106 and 107: Figure 38 Paul Cézanne Ginger Pot
Page 108 and 109: Plate 17 Paul Cézanne Still Life w
Page 112 and 113: Plate 19 Paul Cezanne Still Life wi
Page 114: NOTES 1. See Peter Galassi, Corot i
Page 117 and 118: Figure 41 Computer-enhanced infrare
Page 119 and 120: Saint Marcel les Annonay paper (det
Page 121 and 122: Detail 11 splatters, and subtle fau
Page 123 and 124: Detail 14 irresolution while unsett
Page 127 and 128: Detail 18 horizons that were not es
Page 130: Detail 21 visibly definite contour
Page 133: Detail 27 > Detail 26 red, one buil
Page 137 and 138: I F STILL LIFE WITH BLUE POT is UNU
Page 139 and 140: Plate 20 Paul Cezanne St/7/ Life: F
Page 141 and 142: Plate 21 Paul Cezanne 7/iree Pears,
Page 143 and 144: evident, but that process is method
Page 145 and 146: in my view ; is what Cezanne's late
Page 147 and 148: water to pigment, and the watercolo
Page 149 and 150: a fundamental rethinking of the str
Page 152 and 153: Jinishing Touches 0n the side of th
Page 154 and 155: is germane to its objects as well a
Page 156 and 157: Keys to Details Key to details 1-6
Page 158 and 159: Key to details 14-29 143
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Emperaire, Achilla, 19 esquisses, 7
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landscape of, 45-50; 53, 64 line an
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Still Life in Watercolors

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