Picture and Sketch turn now to the process of painting, things, which is to say, to see as if with the j drawing, and studying that takes hand, to imagine the movement back place in the studio. Thus we move outside in, and forth between eye and hand, process and from what the picture represents to how it finished product. In order to see this, how- represents It, inverting the direction of the ever, we must work contrary-wise, from artist's progress from mark to composition to the macro level of the completed watercolor picture. Unlike the artist, the viewer sees and its subject, viewed from the outside, it the other way around, moving from the to the micro level of its inner workings. In entire picture and its arrangement of subject other words, we must proceed in an order of matter to the way it is put together, and then looking that is complementary to Cezanne's back out again. I hope to show that Cezanne's process. work in watercolor and pencil, even more To start, we must consider the picture's than his work in oil, involves an invitation to status as a picture. Still Life with Blue Pot is see the artist's process at work; more than what the French call a tableau, a full-fledged, that, it seeks to turn the viewer's expectations finished picture in its own right, as distinct about seeing the picture as a picture inside from a sketch (croquis) or a study (étude), out, so that we too begin to look with the which was more usually the function and artist back and forth between the motif that status of the combined media of pencil he rendered and the means of rendering it. and watercolor. At the same time, it has no Another way of saying this would be to sug- separate preparatory sketch (ébauche gest that rather than agreeing in advance to and/or esquisse) in which Cézanne might see as the viewer of the completed painting have worked out the final composition does, Cézanne asks his viewers to see as beforehand: its first conception, its changes the painter does in the process of painting of mind, and its final state coexist in one 75
Cézanne in the Studio: Still Life in Watercolors Page 89 Page 91