Plate 15 Paul Cézanne rom the last years of Cezanne's life, Apples of the 18805 studies, yet the pencil lines that Apples on a Plate, 1902-6 F course over and under its slight color speak of on a Plate is related to earlier, relatively Watercolor and graphite on simple arrays of fruit on or off plates. Its six or neither a linear process nor a state of pictorial white paper, 31.5 x 47.9 cm 3 7 so apples are grouped together, more or less completion. This is a study that Cézanne simply (i2 /s x i8 /s in.) Rotterdam, Muséum Boijmans on or in a plate, and without any spatial elabora- stopped working on, perhaps adding a few pencil Van Beuningen F n 121 tion to give them a compositional context, so lines for good measure under the motif just that together they constitute a single study before he stopped. Here the evident lack of motif. Apples on a Plate lacks the wider context, completion—its unnecessariness—spells étude, the fuller fleshing out in color, and indeed the but the equally evident antilinearity of the competition between the registers of pencil and process of drawing and watercoloring is one watercolor of Cezanne's watercolor tableaux. shared, in this period of Cezanne's work, by étude Its ratio of watercolor to pencil is similar to that and tableau alike. 8 4 CÉZANNE IN THE STUDIO