than anything Cézanne ever did inside the studio, with its simple, familiar, insistent objects, their equally insistent corporeality, and their insistence upon the concentric- ity of the eye. As a landscape study it comes close to the up-close zone of the still life so masterfully landscaped in Still Life with Blue Pot, in particular to the web of over- laid foliate marks that makes up the tapestry that surrounds its central array of objects. But as a study, too, it could not be further from the pictorial completion of Still Life with Blue Pot, and as such it opens onto the next studio question to concern us: that of sketch and finished picture. NOTES 1. On Cezanne's "prehensile eye," see Lawrence 5. The notion is an apocryphal one; it is nowhere Cowing, "The Logic of Organized Sensations," to be found in Cezanne's letters. Both Emile in Cézanne: The Late Work (New York: Museum of Bernard and Joachim Gasquet claimed that Cezanne, Modern Art, 1977), 56. explaining what he meant when he advised his generation to "become classic again, but through 2. This is Norman Bryson's contention regarding nature" ("II nous faut redevenir des classiques par the function of still life as an abject, "feminine" la nature"), said the following: "Imagine Poussin genre: not only that it brings the human subject low redone entirely after nature, that's the classic that I but also that it articulates, highlights, and plays upon intend" ("Imaginez Poussin refait entièrement sur the division between the subject and its objects. nature, voilà le classique que j'entends"). See Emile See Bryson's Looking at the Overlooked: Four Essays Bernard, "Souvenirs sur Paul Cézanne et lettres on Still-Life Painting (Cambridge: Harvard University inédites," pts. i and 2, Mercure de France, October i, Press, 1990), in particular "Still Life and 'Feminine' 1907, 385-404, October 15, 1907, 606-27, cited Space," 136-78. On still life, see also Jeannene in P. M. Doran, Conversations avec Cézanne (Paris: Pryzlbyski, "Le Parti pris des choses: French Still Life Editions Macula, 1978), 80. Gasquet's remark is and Modern Painting, 1848-1876" (Ph.D. diss., found in his Cézanne (Paris, 1921), cited in Doran, University of California, Berkeley, 1995); Eliza B. Conversations avec Cézanne, 150. Francis Jourdain, Rathbone and George T. Shackelford, Impressionist in Cézanne (Paris: Braun, 1950), declared that Still Life (Washington, D.C.: Phillips Collection; Cézanne "always tried to revivify Poussin in front of New York: Harry N. Abrams, 2002); and the last nature" ("il avait toujours essayé de revivifier le chapter of my Manet Manette (New Haven and Poussin devant la nature"), cited in Doran, London: Yale University Press, 2002), esp. 269-81. Conversations avec Cézanne, 84. And Maurice Denis See also Charles Sterling, Still Life Painting from declared him the "Poussin of Impressionism" ("C'est Antiquity to the Present Time, trans. James Emmons le Poussin de l'impressionnisme"), in "Cézanne," in (New York: Universe Books, 1959). Théories, 1890-1910: Du symbolisme et de Gauguin vers un nouvel ordre classique (Paris: L. Rouart 3. On the subject of the "paysage historique," see and J. Watelin, 1920), 260. See also Richard Shiff, Peter Galassi, Corot in Italy: Open-Air Painting "The Poussin Legend," in Cézanne and the End and the Classical-Landscape Tradition (New Haven of Impressionism: A Study of the Theory, Technique, and London: Yale University Press, 1991). and Critical Evaluation of Modern Art (Chicago and London: University of Chicago Press, 1984), 175-84; 4. Quote from Balzac's Peau de chagrin, cited, Richard Kendall, Cézanne and Poussin: A Symposium among other places, in Maurice Merleau-Ponty, (Sheffield, England: Sheffield Academic Press, "Cezanne's Doubt," in Sense and Non-sense, trans. 1993), in particular the essays by Richard Verdi Hubert L. Dreyfus and Patricia Allen Dreyfus ("The Reputation of Poussin's Landscape Paintings (Evanston, 111.: Northwestern University Press, in France from Félibien to Cézanne," 13-29), Richard 1964), 16. Shiff ("Cézanne and Poussin: How the Modern Claims the Classic," 51-68), Michel Hoog ("The 7l THE LANDSCAPE OF STILL LIFE