Still Life in Watercolors

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Figure 16 Paul Cezanne Bottles, Pot, Alcohol Stove, and Apples, c. 1900-1906 Watercolor and graphite on paper, 47 x 56 cm (i8 1 /z x 22 in.) Private collection "kitchen tables" leave the kitchen behind to assert the context of the studio as the space of art and its ability to make things into bodies, at the same time they point to the kitchen offstage—and to the space of the house beyond—by its very absence, always marking its possible though invisible contiguity with the realm of the studio. And, paradoxically, they do so more insistently than any other still-life oeuvre that I can think of. There is, for instance, from the same period (1900-1906), the table overflowing with kitchen items, obviously removed from the kitchen to make a studio still life, but nevertheless suggesting the kitchen to such a point of excess and overload that overdetermination and obsession rear their heads (fig. 16). The kitchen is simultaneously everywhere and nowhere in the atelier; it is colonized by the atelier, and it is the atelier's other. Indeed, this "kitchen table" is so chock full of kitchen implements—bottles, pitchers, pots, burners, sugar casters, and of course fruit—that it gives new meaning to the expression "everything but the kitchen sink." Yet they look like such objects look on moving day, gathered together in surplus, not in use, as if for an inventory of all the kitchen items that had been stolen for studio purposes. Thus this kitchen table too, in its very excess of kitchenness, marks the replacement of the kitchen by the studio. 37 THE BIOGRAPHY OF OBJECTS
Plate 7 Paul Cezanne Still Life with Apples and Chair Back, c. 1904-6 Watercolor and graphite on white paper, 44.5 x 59 cm (i/Vz x 2314 in.) London, Courtauld Institute of Art Gallery, The Samuel Courtauld Trust, D.1948.SC.H1 his baroque still life returns to the empty T chair back of earlier sketches and sets it behind a richly colored table full of fruit, a bottle, and an empty glass, suggesting with uncharacteristic directness the scene of dining that is still life's traditional fare but remarkably absent from the rest of Cezanne's still-life oeuvre. The studio has suddenly become festive, like a pared-down banquet left over from Cezanne's wild early years, when he painted orgiastic banquets. It is as if someone has finally been invited for dinner or dessert in the studio and even been offered a seat at table rather more elegant than the studio's usual rustic chairs. And yet, poignantly, there is nobody there after all. As loosely rendered as it is, this is a richly complete watercolor tableau. 3« 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 and 44: But what have these to do with stil
Page 45 and 46: Figure 13 Paul Cezanne Madame Cezan
Page 47 and 48: Figure 14 Paul Cezanne Curtains, 18
Page 49 and 50: Plate 5 Paul Cezanne Jacket on a Ch
Page 51: Plate 6 Paul Cezanne St/7/ 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
Page 100 and 101: posy to indicate its existence and
Page 102 and 103:
Plate 16 Paul Cézanne Plaster Cupi
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Figure 36 Paul Cézanne Seated Woma
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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
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NOTES 1. See Peter Galassi, Corot i
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Figure 41 Computer-enhanced infrare
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Saint Marcel les Annonay paper (det
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Detail 11 splatters, and subtle fau
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Detail 14 irresolution while unsett
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Detail 18 horizons that were not es
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Detail 21 visibly definite contour
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Detail 27 > Detail 26 red, one buil
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I F STILL LIFE WITH BLUE POT is UNU
Page 139 and 140:
Plate 20 Paul Cezanne St/7/ Life: F
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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
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a fundamental rethinking of the str
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Jinishing Touches 0n the side of th
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is germane to its objects as well a
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Keys to Details Key to details 1-6
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Key to details 14-29 143
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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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