Elegant Mountain in Poussin and Cézanne/' 109-12), Michael Baxandall, "Pictures and Ideas: Chardin's and John House ("Cezanne and Poussin: Myth A Lady Taking Tea," in Patterns of Intention: On the an Historical Explanation of Pictures (New Haven and History," 129-49); d Richard Verdi, Cézanne and Poussin: The Classical Vision of Landscape and London: Yale University Press, 1985), 74-104; (Edinburgh: National Galleries of Scotland; London: and Jonathan Crary, Techniques of the Observer: Lund Humphries, 1990). On Vision and Modernity in the Nineteenth Century (Cambridge: MIT Press, 1990), 62-66. 6. As did other French still-life painters of the nineteenth century, such as Manet and Fantin-Latour, 11. On Cézanne and Cubism, see William Rubin, Cézanne also looked back to the Spanish bodegone, "Cézannisme and the Beginnings of Cubism/' in particularly in the series of still lifes that include Cézanne: The Late Work, 151-202. One of the melons. obvious sources in Cezanne's own remarks for the Cubist view of his work is his famous saying about 7. Cézanne, however, did paint still lifes with "the cylinder, the sphere, the cone." While Denis pomegranates, though in the Provençal context the was emphatic about the rounded volumetricness pomegranate no longer had the connotations of thematized in this quote, Bernard got it wrong at exoticism and luxury, and Cézanne did not empha- least once, and spoke of "le cône, le cube, le size the glisten of the fruit's seeded interior in the cylindre, la sphère" (Emile Bernard, Souvenirs sur way that Kalf and others had. Paul Cézanne, et lettres [Paris: R. G. Michel, 1925] 116; elsewhere [37], he got the quote right). 8. On Cézanne and Chardin, see Theodore Reff, "Cézanne and Chardin," in Cézanne aujourd'hui, 12. Letters to Emile Bernard, April 15 and July 25, éd. Françoise Cachin, Henri Loyrette, and Stéphane 1904, given in Emile Bernard, "Paul Cézanne," Guégan (Paris: Réunion des Musées Nationaux, L'Occident 6 (July 1904): 17-30; and cited in 1997), 11-28. Reff quotes Rilke on Cézanne— Françoise Cachin and Joseph J. Rishel, Cézanne "Chardin is still the intermediary" ("C'est encore là (Philadelphia: Philadelphia Museum of Art, 1996), Chardin l'intermédiaiare," 11; Rilke, Lettres sur 18-19. On the relation between Cezanne's practice Cézanne, 37-38); and Gasquet, who apparently took and his curious theoretical pronouncements, the remark from Bernard, claiming to cite Cézanne: see Yve-Alain Bois, "Cézanne: Words and Deeds," "Objects are penetrated by and among each other.... October 84 (spring 1998): 31-43. They do not cease to live, you understand Insensibly they spread about themselves intimate 13. "Alors je commençai à faire surtout des natures reflections, as we do with our glances and our mortes, parce que dans la nature il y a une espace words It was Chardin, the first to glimpse this, tactile, je dirais presque manuel. Je l'ai écrit du reste: who nuanced the atmosphere of things" ("Les objets 'Quand une nature morte n'est plus à la portée de se pénètrent entre eux Ils ne cessent pas de la main, elle cesse d'être une nature morte.' Cela vivre, comprenez vous Ils se répandent insensi- répondait pour moi du désir que j'ai toujours eu du blement autour d'eux d'intimes reflets, comme nous toucher la chose et non seulement de la voir." See par nos regards et par nos paroles C'est Chardin, Dora Vallier, "Braque, la peinture et nous: Propos le premier qui a entrevu ça, a nuancé l'atmosphère de l'artiste," Cahiers d'art 29 (October 1954): 16; also des choses" [28; from Gasquet, Chardin, 122]). cited in Vallier, L'Intérieur de l'art (Paris: Editions And Maurice Denis remarked, "We sense that this du Seuil, 1982), 32; and Christine Poggi, "Braque's art is closer to Chardin than to Manet and Gauguin" Early Papiers Collés: The Certainties of Faux Bois," ("Nous sentons que cet art-là est plus près de Chardin in Picasso and Braque: A Symposium (New York: que de Manet et de Gauguin" [Denis, Théories, 247]). Museum of Modem Art, 1992), 1381131, 138^4, On thé Chardin revival, see John McCoubrey, "The 146, 148. Revival of Chardin in French Still-Life Painting, 1850-1870," Art Bulletin 46 (March 1964): 39-53; 14. Cezanne's "prehensile eye" evokes the category and Gabriel P. Weisberg (with William S. Talbot), of the tactile or the haptic, as defined by Alois Chardin and the Still-Life Tradition in France Riegl and Heinrich Wôlfflin. There are two kinds of (Cleveland: Cleveland Museum of Art, 1979). "haptic" space that two-dimensional images can suggest. The first has to do with the contents of per- 9. See Pierre Rosenberg, Chardin (London: Royal spectival space and rests on the illusion of volumes Academy of Arts; New York: Metropolitan Museum that the hand can grasp ("cubic," or sculptural, of Art, 2000). space), as opposed to a purely optical surface, or retinal screen. (That is its meaning in the work of 10. For two different accounts of Chardin as repre- Riegl, and it is synonymous with the "linear" mode sentative of eighteenth-century epistemology, see in Wolfflin's writing.) The second is in a sense the 72 CÉZANNE IN THE STUDIO