Still Life in Watercolors
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went on like this, with sojourns <strong>in</strong> Auvers and Pontoise and other places and longer<br />
periods of residence <strong>in</strong> L'Estaque, on the bay of Marseilles, through the seventies —<br />
<strong>in</strong>clud<strong>in</strong>g the siege of Paris, dur<strong>in</strong>g which he dodged the draft, and the Commune of<br />
1870-71—and <strong>in</strong>to the eighties, though Cezanne's stays <strong>in</strong> Aix and L'Estaque grew<br />
longer and longer and his <strong>in</strong>tervals <strong>in</strong> Paris shorter and shorter. By the time his father<br />
died, <strong>in</strong> December of 1886, and the family's Jas de Bouffan property on the western<br />
outskirts of Aix was bequeathed to his children (Paul, Marie, and Rose Honor<strong>in</strong>e —<br />
the two sisters were two and fifteen years younger than Paul, respectively), Cezanne<br />
had resettled <strong>in</strong> Aix, although he cont<strong>in</strong>ued to make trips to Paris and elsewhere. By<br />
the n<strong>in</strong>eties and the rise of Cezanne's fame, pa<strong>in</strong>ters were mak<strong>in</strong>g pilgrimages to Aix<br />
to see him, and from then until the end of his life, <strong>in</strong> 1906, he was the hermit pa<strong>in</strong>ter<br />
and master of Aix.<br />
Cezanne himself remarked on his ties to Aix, "When I was <strong>in</strong> Aix, it seemed<br />
to me that I would be better elsewhere; now when I'm elsewhere I miss Aix." 7 Many<br />
a prov<strong>in</strong>cial boy with high ambitions must have felt similar ambivalence, but <strong>in</strong><br />
Cezanne's case there was a particular Aixois flavor to the love/hate feel<strong>in</strong>g about his<br />
prov<strong>in</strong>cial birthplace: while <strong>in</strong> one breath he compla<strong>in</strong>ed bitterly of the "steppes of<br />
the good city of Aix ;; and its prov<strong>in</strong>cial population, <strong>in</strong> the next he said, "I wouldn't be<br />
here if it weren't for the fact that I love the configuration of my countryside so<br />
deeply." 8 Speak<strong>in</strong>g of Zola and Gasquet as well as himself, he wrote: "In us the vibration<br />
of sensations reverberat<strong>in</strong>g from the good Provencal sun have never died, our<br />
old souvenirs of youth, of those horizons, those landscapes, those unexpected l<strong>in</strong>es<br />
have left <strong>in</strong> us so many profound impressions." 9 But many other prov<strong>in</strong>cial boys<br />
stayed away. Zola, for one, became a confirmed Parisian, but not Cezanne, who said<br />
that <strong>in</strong> spite of all of his compla<strong>in</strong>ts about Aix old and new: "I was born there, and it<br />
is there that I will die. Today everyth<strong>in</strong>g <strong>in</strong> reality changes, but not for me, I live <strong>in</strong><br />
the town of my childhood, and it's under the eyes of people of my own age and place<br />
that I revisit the past." 10 And <strong>in</strong>deed it was <strong>in</strong> Aix that he was born and <strong>in</strong> Aix that<br />
he died.<br />
Although it was the landscape of Aix for which Cezanne expressed his yearn<strong>in</strong>g,<br />
the Aixois feel<strong>in</strong>g permeates his still lifes at least as much as his landscapes: not<br />
only by look<strong>in</strong>g a bit like landscapes, some of them (we will have occasion to return<br />
to this theme with regard to <strong>Still</strong> <strong>Life</strong> with Blue Pot), but also <strong>in</strong> the ways that I have<br />
enumerated—the pots and glassware, the fabrics, the rough-hewn furnish<strong>in</strong>gs, the<br />
palette. Even his "handwrit<strong>in</strong>g" had an Aixois feel to it: from the crude couillarde facture<br />
of the early years to the distensions and crookednesses and even the tilt and<br />
pitch of space and brush stroke of the later years. One th<strong>in</strong>ks of these th<strong>in</strong>gs as<br />
Cezanne's personal peculiarities—and <strong>in</strong>deed they were—but experience of the geological<br />
and vegetal growth patterns of the Provencal countryside beg<strong>in</strong>s to corroborate<br />
the Aixois <strong>in</strong>flection of those peculiarities and the importance of Cezanne's<br />
immersion <strong>in</strong> Aix. There was, <strong>in</strong> short, a k<strong>in</strong>d of Provencal accent to Cezanne's still<br />
lifes as much as to his landscapes. And that accent was one that Cezanne cultivated<br />
<strong>in</strong> life as well as <strong>in</strong> art, nowhere more so than <strong>in</strong> Paris. There, caricatur<strong>in</strong>g the model<br />
18<br />
CEZANNE IN THE STUDIO