Plate 21 Paul Cezanne The deceptively simple composition of Three work, responding to and weaving itself into the 7/iree Pears, c. 1888-90 Pears is brought into being by means of layers of color taches. Other novelties of proce- Watercolor, gouache, the relatively traditional filling in of pencil outline dure include heavy, repeated contour lines and and graphite on cream laid paper, 24.2 x 31 cm and shading by watercolor and gouache. Here the abundant use of bare paper, not only in 9 (9 /ie x 12% in.) it is safe to say that almost all of the pencil work the framing corners of the image but also in the The Henry and Rose is underdrawing, even though the graphite is plate and the volumes of the pears where the Pearlman Foundation, Inc., left visible beneath the watercolor. Toward the cream of the heavy laid paper shows through. 1.1988.62.32 upper-left part of the composition, there is a Already the process by which the image is formed long diagonal patch of pencil hatching to suggest on the paper is left evident, but that process is a cast shadow, perhaps: that patch of hatching methodical and linear, and the relation between is the sort of thing that might come in later start and finish, line and color that it enacts is watercolors, that might be laid over pigment clearly sequential. and transform itself into a kind of penciled color 126 CEZANNE IN THE STUDIO