breath rather than the final, crystallized form of it—and how he sought to have each—color and line, line and color—continually exchange places with the other. As with Still Life with Blue Pot, so with Still Life with Carafe/Bottle, and Fruit: the white ground of the sheet of drawing paper remains visible and is used to repre- sent both itself, the support surface, and the object surfaces within the still-life arrangement. Here it is the paper label of the bottle that the white of the paper sheet represents: which is to say, the uppermost surface is represented by the undermost surface—paper glued on top of the glass of the bottle is represented by the paper underneath the whole arrangement. At the same time, the white of the paper sur- rounds and frames the arrangement, constitutes its literal materiality, and interacts with pencil and watercolor to produce its subject, which is at once the still-life objects and the process of representing them, at once the volumes and "culminating points" of bottles and fruit and the site of transformation of paper into glass, water into wine, graphite and pigment into vessel and flesh. In this sense as well Still Life with Carafe, Bottle, and Fruit addresses the process and materials of its medium. In this sense as well it shares its attitude toward drawing and watercoloring with the Getty still life while standing at the other end of the range of coverage and comple- tion found overall in Cezanne's late watercolor work. Whereas Still Life with Blue Pot is so unusual in its covering of almost all of the sheet of paper with watercolor and its buildup of pigment at the center so that most of its pencil is finally under cover of color, Still Life with Carafe, Bottle, and Fruit allows its paper and its pencil to show through and through, everywhere, again with the exception of the wine bottle at the center, so that no matter which techni- cally came first and last, the line of graphite or the touch of color, each is seen to interact with the other as circularly as the curving strokes that grope toward the con- tours of the apples at the right over and over again. Up close, and even under the microscope, it is impossible to tell whether the gray sparkle of graphite dust sits atop the watery stain of color that has sunk into the weave of the paper because it was laid down last, or only because its dry materiality and method of application allow it to float to the top. No matter, Cezanne made sure to leave both visible, so that he and we could see the dialogue between them for ourselves. The same dialogue takes place in Still Life with Blue Pot, except that for once Cezanne chose to work his composition in the manner of a grand old oil painting, going over it laboriously until it had, if not the method, then the look, when he stood back (as do we), of a finished masterpiece. But it was a masterpiece, a still life with the breadth and grandeur of a monumental landscape, that inverted the old relation- ship between its opening lines and its final glazes, for it began with its most trans- parent washes and ended with its most opaque blue lines, going over the tangled pencil submerged beneath, now all but invisible except here and there, where a thread of graphite emerges, like the end of a skein of yarn left dangling to be picked up and followed into the heart of the maze. For all of its air of finish, then, Still Life with Blue Pot is all of a piece with Cezanne's late still-life work in watercolor, such as Still Life with Carafe, Bottle, and Fruit, in which the studio was repeatedly the site of 133 PENCIL LINES AND WATERCOLORS