toe now embark on a fourth and final trip through the Getty's Still Life with Blue Pot: this time in depth, into and through the layers of pencil and water- color and back out again. Once again this trip will require patience, for this time we shall look at the watercolor still life archaeologi- cal ly: digging with our eyes into the artist's working process, from the top level of rein- forcing Prussian blue down through the thin- ner colors and through the tangle of lines laid over and under those colors to the paper beneath. This is an imaginative excavation, Detail 8 however, rather than an art detective's fact-finding mission; it will not reconstitute Cezanne's procedure step by step in any dialogue among paper, pencil, watercolor, hypothesized pencil point and watercolor exact or linear way, for his way of working in and objects in space, it offers a journey brush and the strata of graphite and pigment his late years, especially in fully orchestrated through the studio in microcosm: through its left by them. compositions like this one, pits itself against objects but also through its means, as those We cannot look only in depth, of course, such a reconstruction. Rather, this "dig" will means create and at the same time search or localize that looking in one area of the try to re-create what Cezanne might have unceasingly for their ends. And so the state- drawing, one part of the watercolor. Indeed, done according to what the viewer's eye of-the-art conservator's and photographer's we will have to circle around and retrace our is encouraged to see in different parts of the technology to which we have subjected this steps to and from a starting point. And dif- drawing-painting (it is a mix of both) and in work, available neither to Cezanne himself ferent parts of Still Life with Blue Pot suggest different kinds of viewing campaigns. For this nor to the layman viewer of our time, will be different kinds of in-depth looking. We are is a still life in watercolor that solicits from used only to enhance what the naked eye encouraged, by habit as much as by Cezanne, the viewer a comprehensive and empathic sees, feels, and gropes toward, what it senses to look first at the rough center of the large, engagement in the artist's eye-and-hand lying beneath its imagined fingertips, its uncut sheet of machine-made Montgolfier Detail 7 103 PENCIL LINES AND WATERCOLORS