Detail 29 > struck by the blue pot that gives the still where the composition began and where the denotes the colored flesh of their surf aces. life its name, and offsetting the volumetric finishing touches are most evident Here White shows through—with a squiggle of drama of the centerpiece of blue pot, color—red and gold for the apples, blue and red-brown in the leftmost apple (detail 28), pitcher, white pot, and apples atop an appar- white for the vessels—is used representa- with traces of graphite visible in the third ently brilliant white cloth. tionally. The veiling of dark red and ocher in apple from the left—but it shows through to And here ends our archaeological journey the apples works much the same as else- provide highlights and "culminating points": through the still life, our excavation of its where in the still life, except that here it those volumetric prominences that were so site of drawing and watercolor, at the place rounds and models the forms of the fruit and crucial for Cezanne, reversing perspectival diminution and vanishing-point convergence and organizing space around multiple nodes. White paper makes the porcelain of the pitcher and the enamel of the white pot, while repeated blue with a bit of purplish red and a touch of green provides a hint of pat- terning on the former and the modeling of the latter, as well as the multiple curving lines of its metal swing handle. Blue upon blue upon blue and violet forms the blue pot, which has almost no free white in it; instead, its highlight/"culminating point" is made out of a pale wash of blue glimpsed through thickened, opaque layers of richer, darker blue (detail 29]; instead, one looks through blue to see more blue, and slightly different shades of blue. Finishing it all off are the blue and black and violet—and sometimes red— but mostly blue reinforcing lines that repeat- edly demarcate the contours and the inter- stices between objects, causing them to resonate, vibrate, and hover between line and color, growing the two together. As we watch, the still life comes into being "out of the blue" and goes on coming into being constantly, forever, on the studio table, on the sheet of paper, before our eyes, under Cezanne's imagined pencil and brush. Detail 28 12O CEZANNE IN THE STUDIO