Still Life in Watercolors

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Figure 11 Paul Cezanne Carafe and Knife (recto), €.1882 Watercolor and graphite on paper, 21.9 x 27.3 cm (8 5 /s x io 3 /4 in.) Philadelphia, Philadelphia Museum of Art, A. E. Gallatin Collection, 1952-61-11 Figure 12 Paul Cezanne Bed and Table (verso), c. 1882 Watercolor and graphite on paper, 27.3 x 21.9 cm (io 3 /4 x 8 5 /8 in.) Philadelphia, Philadelphia Museum of Art, A. E. Gallatin Collection, 1952-61-11 the flower drawing, and the self-evident femininity of Hortense's face, which is in fact more "feminine" here than in any of the oil portraits of her and is rendered with such an uncharacteristic delicacy, intimacy, and poignant grace as to endow the rendering itself with a kind of femininity. At the same time, Cezanne's wife is like the penciled inside-out of the watercolored flower: the folds of the pillow on which she rests are like inverted versions of the complex lines of the leaves enframing the blossom of the hortensia, so that each is like the verso of the other. Finally, with the folds of the pillow embracing Hortense's cheek, this sketch suggests, even more intensely than before, in the drawing of Paul, that the sheet of paper is a space of drowsy softness shared by Cezanne as he looks from his pillow and his low vantage point to hers, a somatic space in 29 THE BIOGRAPHY OF OBJECTS
Figure 13 Paul Cezanne Madame Cezanne with Hortensias, c. 1885 Watercolor and graphite on paper, 30.5 x 46 cm (12 x i8Ve in.) Private collection which a connection between the biographical and the still-life subject occurs. This drawing-and-watercolor page is not a still life per se, but it brings the subjects of portrait and floral still life in conjunction with each other. Drawn and painted just prior to the time that Cezanne's home life was regularized by marriage, legitimization of his son, the death of his father, and his coming into property, it suggests the missing link between the processes of the studio and the familiarities of the house, the greenhouse, and the bed, as well as the relationship between intimate and dispassionate observation. Unusually, it looks like a kind of tribute or love letter, although of course it may have been nothing of the sort. The diminution of Hortense's head in relation 30 CEZANNE IN THE STUDIO
Page 6 and 7: CEZANNE IN THE STUDIO Still Life in
Page 8: Notes to the Reader Objects in the
Page 12 and 13: Foreword Paul Cezanne's role as the
Page 14 and 15: Lenders to the Exhibition Our thank
Page 16 and 17: Opening Lines L/ ike many a still l
Page 18 and 19: Figure 2 Paul Cezanne Still Life wi
Page 20 and 21: sometimes against the grain of the
Page 22: Terrasse, Les acquarelles de Cezann
Page 25 and 26: Figure 3 Paul Ce~zanne Still Life w
Page 27 and 28: CEZANNE PAINTED STILL LiFES from th
Page 29 and 30: palette for the dark density of the
Page 31 and 32: Figure 8 Paul Cezanne St/7/ Life wi
Page 33 and 34: went on like this, with sojourns in
Page 35 and 36: It was also in Paris that the other
Page 37 and 38: Cezanne and his wife, it became a h
Page 39 and 40: Plate 2 Paul Cezanne Head of a Chil
Page 41 and 42: Plate 3 Paul Cezanne The Artist's S
Page 43: But what have these to do with stil
Page 47 and 48: Figure 14 Paul Cezanne Curtains, 18
Page 49 and 50: Plate 5 Paul Cezanne Jacket on a Ch
Page 51 and 52: Plate 6 Paul Cezanne St/7/ Life wit
Page 53 and 54: Plate 7 Paul Cezanne Still Life wit
Page 55 and 56: And then there is the baroque still
Page 57 and 58: 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,
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
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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
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Plate 17 Paul Cézanne Still Life w
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Figure 40 Paul Cezanne Still Life w
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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
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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,
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evident, but that process is method
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in my view ; is what Cezanne's late
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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
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is germane to its objects as well a
Page 156 and 157:
Keys to Details Key to details 1-6
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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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