Still Life in Watercolors

Elegant Mountain in Poussin and Cézanne/' 109-12),
and John House ("Cezanne and Poussin: Myth
and History," 129-49); an d Richard Verdi, Cézanne
and Poussin: The Classical Vision of Landscape
(Edinburgh: National Galleries of Scotland; London:
Lund Humphries, 1990).
6. As did other French still-life painters of the
nineteenth century, such as Manet and Fantin-Latour,
Cézanne also looked back to the Spanish bodegone,
particularly in the series of still lifes that include
melons.
7. Cézanne, however, did paint still lifes with
pomegranates, though in the Provençal context the
pomegranate no longer had the connotations of
exoticism and luxury, and Cézanne did not emphasize
the glisten of the fruit's seeded interior in the
way that Kalf and others had.
8. On Cézanne and Chardin, see Theodore Reff,
"Cézanne and Chardin," in Cézanne aujourd'hui,
éd. Françoise Cachin, Henri Loyrette, and Stéphane
Guégan (Paris: Réunion des Musées Nationaux,
1997), 11-28. Reff quotes Rilke on Cézanne—
"Chardin is still the intermediary" ("C'est encore là
Chardin l'intermédiaiare," 11; Rilke, Lettres sur
Cézanne, 37-38); and Gasquet, who apparently took
the remark from Bernard, claiming to cite Cézanne:
"Objects are penetrated by and among each other....
They do not cease to live, you understand
Insensibly they spread about themselves intimate
reflections, as we do with our glances and our
words It was Chardin, the first to glimpse this,
who nuanced the atmosphere of things" ("Les objets
se pénètrent entre eux Ils ne cessent pas de
vivre, comprenez vous Ils se répandent insensiblement
autour d'eux d'intimes reflets, comme nous
par nos regards et par nos paroles C'est Chardin,
le premier qui a entrevu ça, a nuancé l'atmosphère
des choses" [28; from Gasquet, Chardin, 122]).
And Maurice Denis remarked, "We sense that this
art is closer to Chardin than to Manet and Gauguin"
("Nous sentons que cet art-là est plus près de Chardin
que de Manet et de Gauguin" [Denis, Théories, 247]).
On thé Chardin revival, see John McCoubrey, "The
Revival of Chardin in French Still-Life Painting,
1850-1870," Art Bulletin 46 (March 1964): 39-53;
and Gabriel P. Weisberg (with William S. Talbot),
Chardin and the Still-Life Tradition in France
(Cleveland: Cleveland Museum of Art, 1979).
9. See Pierre Rosenberg, Chardin (London: Royal
Academy of Arts; New York: Metropolitan Museum
of Art, 2000).
10. For two different accounts of Chardin as representative
of eighteenth-century epistemology, see
Michael Baxandall, "Pictures and Ideas: Chardin's
A Lady Taking Tea," in Patterns of Intention: On the
Historical Explanation of Pictures (New Haven
and London: Yale University Press, 1985), 74-104;
and Jonathan Crary, Techniques of the Observer:
On Vision and Modernity in the Nineteenth Century
(Cambridge: MIT Press, 1990), 62-66.
11. On Cézanne and Cubism, see William Rubin,
"Cézannisme and the Beginnings of Cubism/' in
Cézanne: The Late Work, 151-202. One of the
obvious sources in Cezanne's own remarks for the
Cubist view of his work is his famous saying about
"the cylinder, the sphere, the cone." While Denis
was emphatic about the rounded volumetricness
thematized in this quote, Bernard got it wrong at
least once, and spoke of "le cône, le cube, le
cylindre, la sphère" (Emile Bernard, Souvenirs sur
Paul Cézanne, et lettres [Paris: R. G. Michel, 1925]
116; elsewhere [37], he got the quote right).
12. Letters to Emile Bernard, April 15 and July 25,
1904, given in Emile Bernard, "Paul Cézanne,"
L'Occident 6 (July 1904): 17-30; and cited in
Françoise Cachin and Joseph J. Rishel, Cézanne
(Philadelphia: Philadelphia Museum of Art, 1996),
18-19. On the relation between Cezanne's practice
and his curious theoretical pronouncements,
see Yve-Alain Bois, "Cézanne: Words and Deeds,"
October 84 (spring 1998): 31-43.
13. "Alors je commençai à faire surtout des natures
mortes, parce que dans la nature il y a une espace
tactile, je dirais presque manuel. Je l'ai écrit du reste:
'Quand une nature morte n'est plus à la portée de
la main, elle cesse d'être une nature morte.' Cela
répondait pour moi du désir que j'ai toujours eu du
toucher la chose et non seulement de la voir." See
Dora Vallier, "Braque, la peinture et nous: Propos
de l'artiste," Cahiers d'art 29 (October 1954): 16; also
cited in Vallier, L'Intérieur de l'art (Paris: Editions
du Seuil, 1982), 32; and Christine Poggi, "Braque's
Early Papiers Collés: The Certainties of Faux Bois,"
in Picasso and Braque: A Symposium (New York:
Museum of Modem Art, 1992), 1381131, 138^4,
146, 148.
14. Cezanne's "prehensile eye" evokes the category
of the tactile or the haptic, as defined by Alois
Riegl and Heinrich Wôlfflin. There are two kinds of
"haptic" space that two-dimensional images can
suggest. The first has to do with the contents of perspectival
space and rests on the illusion of volumes
that the hand can grasp ("cubic," or sculptural,
space), as opposed to a purely optical surface, or
retinal screen. (That is its meaning in the work of
Riegl, and it is synonymous with the "linear" mode
in Wolfflin's writing.) The second is in a sense the
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CÉZANNE IN THE STUDIO