a fundamental rethinking of the structure of artistic work and pictorial thought, and of the relationship between drawing and painting, dessin and colons. That site was an experimental space, in which objects could be counted on to stay still, could be arranged and rearranged at will, could recapitulate the atelier of old that the Impressionists had rejected and make it over into a new kind of working room, could safely evoke more intimate human spaces and relations while at the same time setting them quite literally aside. And it was also a control on the experiment that took place outdoors, a place of refuge, greater ease, and homely familiarity, in which Promethean struggle could be made over into more modest play, a grand mission into a more subtle project, and in which the severe and pompous burden of posterity could be traded in, for a while, for the repeated now of the gesture of rendering intertwined with the ongoingness of the act of seeing, the haptics of drawing locked in an embrace with the optics of color, and vice versa. It was something like an artisanal space remade, in which the making and grouping of the simplest of Provencal objects could be over and over again analogized to the intertwined processes of drawing and painting, and vice versa. It was a space in which to learn, and learn again, how to draw lines and how to touch paint to paper, and in which order. And now it is a space, on paper, into which we as viewers are invited, and invited to learn, as never before or since. NOTES
3. There is actually some very faint watercolor wash in the upper-left corner of Still Life with Blue Pot, so there is less bare paper than apparent at first glance.
1. Emile Bernard's inventory of Cezanne's (oil) palette, in Souvenirs sur Paul Cezanne, et lettres (Paris: R. G. Michel, 1925), 46, on the occasion of the two of them painting a still life together that Cezanne had arranged in a downstairs room of his Les Lauves studio: "Les Jaunes. / Jaime brillant.— Jaune de Naples.— Jaime de chrome.— Ocre jaune.— Terre de Sienne naturelle. / Les Rouges / Vermilion. —Ocre rouge.—Terre de Sienne brulee.—Laque de garance.—Laque carminee fine.—Laque brulee. / Les Verts. / Vert Veronese.—Vert emeraude.— Terre verte. / Les Bleus. / Bleu de cobalt.— Bleu d'outremer.—Bleu de prusse.— Noir de peche."
4. See Yve-Alain Bois, "Matisse and 'ArcheDrawing,'" in Painting as Model (Cambridge and London: MIT Press, 1990), 36-38: Gauguin attributed this remark to Cezanne, but Edmond Duranty also put these words in the mouth of the main character in his 1867 story "Le Peintre Marsabiel." Vollard tells the story as a visit by Duranty to Cezanne's studio, which became disguised as that of painter "Maillobert," who remarked "qu'un kilogramme de vert etait plus vert qu'un gramme de la meme couleur" (Ambroise Vollard, En ecoutant Cezanne, Degas, Renoir [Paris: Bernard Grasset, 1938], 33)-
2. On Cezanne's pigments and paper, see Faith Zieske, "Technical Observations," in Cezanne in Focus: Watercolors from the Henry and Rose Pearlmari Collection, ed. Laura M. Giles and Carol Armstrong (Princeton: Princeton University Art Museum, 2002), 27-29; and Zieske, "Paul Cezanne's Watercolors: His Choice of Pigments and Papers," in The Broad Spectrum: Studies in the Materials, Techniques, and Conservation of Color on Paper, ed. Harriet K. Stratis and Brit Slavesen (London: Archetype, 2002), 89-100.
5. See Charles Baudelaire, "Salon de 1846: III: De la couleur" and "Le peintre de la vie moderne" (Le Figaro, November 26 and 29, and December 3, 1863), in Curiosites esthetiques, L'Art romantique et autres oeuvres critiques de Baudelaire, ed. Henri Lemaitre (Paris: Gamier, 1962), 107-12, 360-404 (esp.
134 C E Z A N N E IN THE STUDIO