Figure 24 surface and thus challenges the eye to attach itself not only to the hand but to Gustave Courbet the body of which it is a part as well. Let us look now at some of Cezanne's still- (French, 1819-1877) life cohorts of the nineteenth century, through whose work he filtered the lesson Still Life with Apples, 1872 of Chardin. Oil on canvas, 59.4 x 73.5 cm 3 15 (23 /8 x 28 /ie in.) Courbet was certainly one such. With his famous tankard of ale and rustic The Hague, Museum Mesdag bowl of lush red apples, he took the Chardinian model and gave it his own particu- lar provincial-peasant twist. With his apples scattered on the ground beneath a tree Figure 25 (fig. 24), he took that model and expanded it well beyond its narrow purview, associ- Edouard Manet ating still life with landscape, fruit to look at and eat with the ground on which one (French, 1832-1883) walks—surely Cézanne thought of Courbet's example when he scattered his apples Two Apples, 1880 Watercolor over graphite on about and enlarged the purview of still-life space to include the ground he walked wove paper, 18.8 x 13.9 cm on. Then, of course, there was Manet, to whom Chardin was also extremely impor- 3 1 (7 /s x 5 /z in.) tant: Cézanne was very conscious of Manet, relied on the example of Manet's still- Washington, D.C., National Gallery of Art, Collection life compositions in his early, dark still lifes in oil, and trumped Manet in the first of Mr. and Mrs. Paul Mellon Impressionist exhibition with his caricatural Modern Olympia. And if he saw them, Cézanne must surely have been moved by Manet's simple oils and watercolors of the early i88os, not only of flowers but also of peaches, plums, apples, almonds, and the 15 like (fig. 25). Done with the utmost discretion and exquisitely simple elegance, these watercolor items—sometimes just one, sometimes a pair, sometimes a trio — sit on the bare page with just a hint of shadow to give them some illusionistic weight. 57 THE LANDSCAPE OF STILL LIFE