Still Life in Watercolors
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Plate 21<br />
Paul Cezanne<br />
7/iree Pears, c. 1888-90<br />
Watercolor, gouache,<br />
and graphite on cream laid<br />
paper, 24.2 x 31 cm<br />
(9 9 /ie x 12% <strong>in</strong>.)<br />
The Henry and Rose<br />
Pearlman Foundation, Inc.,<br />
1.1988.62.32<br />
The deceptively simple composition of Three<br />
Pears is brought <strong>in</strong>to be<strong>in</strong>g by means of<br />
the relatively traditional fill<strong>in</strong>g <strong>in</strong> of pencil outl<strong>in</strong>e<br />
and shad<strong>in</strong>g by watercolor and gouache. Here<br />
it is safe to say that almost all of the pencil work<br />
is underdraw<strong>in</strong>g, even though the graphite is<br />
left visible beneath the watercolor. Toward the<br />
upper-left part of the composition, there is a<br />
long diagonal patch of pencil hatch<strong>in</strong>g to suggest<br />
a cast shadow, perhaps: that patch of hatch<strong>in</strong>g<br />
is the sort of th<strong>in</strong>g that might come <strong>in</strong> later<br />
watercolors, that might be laid over pigment<br />
and transform itself <strong>in</strong>to a k<strong>in</strong>d of penciled color<br />
work, respond<strong>in</strong>g to and weav<strong>in</strong>g itself <strong>in</strong>to the<br />
layers of color taches. Other novelties of procedure<br />
<strong>in</strong>clude heavy, repeated contour l<strong>in</strong>es and<br />
the abundant use of bare paper, not only <strong>in</strong><br />
the fram<strong>in</strong>g corners of the image but also <strong>in</strong> the<br />
plate and the volumes of the pears where the<br />
cream of the heavy laid paper shows through.<br />
Already the process by which the image is formed<br />
on the paper is left evident, but that process is<br />
methodical and l<strong>in</strong>ear, and the relation between<br />
start and f<strong>in</strong>ish, l<strong>in</strong>e and color that it enacts is<br />
clearly sequential.<br />
126<br />
CEZANNE IN THE STUDIO