365-72; 394~97)- Cezanne himself clearly read 10. One watercolor with a balcony, depicting roofs Baudelaire's writing and expressed his admiration seen through an open window, probably in Aix, for it: see letters to his son of September 13 is found on the verso of the Pearlman Trees Forming and 28, 1906, in Paul Cezanne, Correspondance an Arch of 1904-5; another one, titled The Balcony recueillie, annotee et prefacee par John Rewald and dated c. 1900, is located in the Philadelphia (Paris: B. Grasset, 1978), 326, 329. Museum of Art. See Giles and Armstrong, Cezanne in Focus, 117-20. 6. John Rewald, Paul Cezanne: The Watercolors: A Catalogue Raisonne (Boston: Little, Brown, 1983), 11. See Maurice Merleau-Ponty, Phenomenologie de 233, fig. 572, believed that there was no pencil work la perception (Paris: Gallimard, 1945), esp. 3Ooff.; in the Getty watercolor. (This was the reason he gave and the title essay of Merleau-Ponty, L'Oeil et I'esprit for seeing the Michigan version, in which he saw (Paris: Gallimard, 1964). See Jonathan Crary, "1900: the pencil work, as a preliminary effort, and the Still Reinventing Synthesis," in Suspensions of Percep- Life with Blue Pot as the final painting.) Although he tion: Attention, Spectacle, and Modern Culture tended to agree with Rewald's proposed sequencing (Cambridge: MIT Press, 1999), 280-359, for a view of the Michigan and Getty drawings, George Goldner, of Cezanne that is critical of the phenomenological under whose tenure as drawings curator the J. Paul perspective while also putting it in the historical Getty Museum acquired the watercolor, understood context of the vitalist movement of the turn of the Rewald's assumption about the lack of pencil to be century and the work of Henri Bergson, Edmund wrong (George R. Goldner, with the assistance of Lee Husserl, and others. Hendrix and Gloria Williams, European Drawings i: Catalogue of the Collections [Malibu, Calif.: J. Paul 12. For some of the best new thinking on the art of Getty Museum, 1988], 150). As Goldner saw, pencil drawing, see Catherine de Zegher and Avis Newman, marks are immediately available to the eye, which The Stage of Drawing: Gesture and Act: Selected suggests that there are quite a few more to be found from the Tate Collection (New York: Tate Publishing underneath the layers of watercolor. Microscopic and the Drawing Center, 2003). examination and infrared photography confirm this hunch, leading one to see much more pencil with 13. "Des qualites definies ne se dessinent dans the naked eye than the first impression suggests. la masse confuse des impressions que si elle est mise en perspective et coordonnee par 1'espace" 7. In addition to being one of three watercolors (Merleau-Ponty, Phenomenology of Perception, 251 shown in the 1877 Impressionist exhibition, this [emphasis added]). gouache was bought by one of Cezanne's earliest patrons, Victor Chocquet. 14. "Le son et la couleur ... dessinent un objet, le cendrier, le violon" (ibid., 263 [emphasis added]). 8. On the importance of Delacroix to Cezanne, see Vollard, En ecoutant Cezanne, Degas, Renoir, 15. "Si je fais passer rapidement un crayon devant m 62-63, which he recounts Cezanne's admiration une feuille de papier ou j'ai marque un point de for a watercolor of flowers by Delacroix (1849) on repere, je n'ai a aucun moment conscience que le sale at Victor Chocquet's in the 18905. See also Gotz crayon se trouve au-dessus du point de repere, je ne Adriani, Cezanne Watercolors, trans. Russell M. vois aucune des positions intermediaires et cepen- Stockman (New York: Harry N. Abrams, 1983), 28ff. dant j'ai 1'experience du mouvement. Recriproque- ment si je ralentis le mouvement et que je parvienne 9. Both of these works are in the Pearlman a ne pas perdre de vu le crayon, a ce moment meme collection, on long-term loan to Princeton. They are 1'impression de mouvement disparait. Le mouve- excellent examples of earlier and later drawing ment disparait au moment meme ou il est le plus and watercolor technique that I had many opportu- conforme a la definition qu'en donne la pensee nities to study up close when Laura Giles, a team of objective. Ainsi on peut obtenir des phenomenes graduate students, and I were working on the 2002 ou le mobile n'apparait que pris dans le mouvement. exhibition Cezanne in Focus. They provided an Se mouvoir n'est pas pour lui passer tour a tour excellent occasion for microscopic examination as par une serie indefinie de positions, il n'est donne well, which revealed just how much interplay there que commen^ant, poursuivant ou achevant son was between pencil and watercolor, and how often mouvement" (ibid., 312). pencil lay on top of watercolor as well as watercolor on top of pencil. This was my hunch, from having 16. See James Elkins, What Painting Is (New York seen them with the unaided eye, and it was borne out. and London: Routledge, 1999), on the alchemical his- tory of color in oil painting. 135 PENCIL LINES AND WATERCOLORS