Still Life in Watercolors

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Pencil Lines and Watercolors Ye//ows: Brilliant yellow. —Naples yellow. — Chrome yellow. — Ocher. — Natural sienna. Reds: Vermilion.—Red ocher. —Burnt sienna. —Red lacquer. — Carmine lacquer. —Burnt lacquer. Greens: Veronese green. —Emerald green. — Green terra. Blues: Cobalt blue. — Ocean blue.—Prussian blue. — Black. 1 101
Figure 41 Computer-enhanced infrared digital capture of Still Life with Blue Pot (pl.i) 102 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
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The landscape of Still seí i/s /oo
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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,
Page 74 and 75: dinner, replete with crystal ware,
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 110 and 111: Figure 40 Paul Cezanne Still Life w
Page 112 and 113: Plate 19 Paul Cezanne Still Life wi
Page 114: NOTES 1. See Peter Galassi, Corot i
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
Page 160 and 161: Emperaire, Achilla, 19 esquisses, 7
Page 162 and 163: landscape of, 45-50; 53, 64 line an
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Still Life in Watercolors

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