Still Life in Watercolors

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CEZANNE IN THE STUDIO Still Life in Watercolors Carol Armstrong THE J. PAUL GETTY MUSEUM, LOS ANGELES
This publication is issued in conjunction with the exhibition Cezanne in the Studio: Still Life in Watercolors, held at the J. Paul Getty Museum, October 12, 2004- January 2, 2005. Merrill Lynch Corporate Sponsor © 2004 J. Paul Getty Trust Getty Publications 1200 Getty Center Drive, Suite 500 Los Angeles, California 90049-1682 www.getty.edu Christopher Hudson, Publisher Mark Greenberg, Editor in Chief John Harris, Editor Karen Jacobson, Manuscript Editor Jeffrey Cohen, Designer Anita Keys, Production Coordinator Anthony Peres, Photographer Typesetting by Diane Franco Color separations by Professional Graphics Inc., Rockford, Illinois Printed and bound by CS Graphics Pte. Ltd., Singapore Library of Congress Catalogin'g-in-Publication Data Armstrong, Carol M. Cezanne in the studio : still life in watercolors / Carol Armstrong, p. cm. Includes index. ISBN 0-89236-623-0 (hardcover) i. Cezanne, Paul, 1839-1906. Still-life with blue pot—Exhibitions. 2. Still-life painting, French—19th century—Exhibitions. 3. Cezanne, Paul, 1839-1906—Criticism and interpretation. I. Cezanne, Paul, 1839-1906. II. J. Paul Getty Museum. III. Title. ND1950.C4A75 2004 759.4—dc22 2004003230 Every effort has been made by the publisher to trace copyright holders. Any unacknowledged claimants should notify the publisher for recognition in future editions. Cover: Paul Cezanne. Still Life with Blue Pot (detail). (See plate i.) Frontispiece, right: Details from the Atelier des Lauves, c. 1953.
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 and 52: Plate 6 Paul Cezanne St/7/ Life wit
Page 53 and 54:
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
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Detail 5 Figure 17 Paul Cézanne Mo
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JHESE DAYS SOMEONE STILL LEAVES APP
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Three general observations that der
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other, though few of his compositio
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Figure 24 Gustave Courbet (French,
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dinner, replete with crystal ware,
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surface of the painting itself. In
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Figure 28 Paul Cézanne Young Itali
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framework for again and again learn
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the genre and the animate world of
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Plate 11 Paul Cézanne Geraniums, 1
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than anything Cézanne ever did ins
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opposite of the first, having to wi
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Detail 6 > layered surface, whose m
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of exhibitable work: the Impression
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fruits have escaped their container
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Plate 14 Paul Cézanne Apples, Bott
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posy to indicate its existence and
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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
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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
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landscape of, 45-50; 53, 64 line an
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