Figure 42 in the form of patches of loose graphite that weave themselves into the warp and Paul Cezanne woof of Cezanne's multicolored overlay of watercolor taches. An excellent example Forest Pat/7, c. 1904-6 of this is to be found in the late Forest Path (c. 1904-6; fig. 42), but it is evident much Watercolor and graphite on off-white wove paper, earlier as well, in studies such as Rocks at Bibemus of around 1887-90 (fig. 43). 45-5 x 63 cm In his earliest era of still-life production, the i86os; Cezanne painted one tiny, 15 13 (i7 /i6X 24 /i6in.) unusual flower piece in watercolor (pi 20), heavily touched with gouache and scrib- The Henry and Rose bled with the same expressionist dabs and flourishes found in the rightmost pear of Pearlman Foundation, Inc., 1.1988.62.46 Still Life: Sugar Bowl, Pears, and Blue Cup (fig. 5)7 This was a fully developed floral composition similar to Henri Fantin-Latour's by then signature flower pieces in its Figure 43 tabletop array of bouquet, fruit, plate, and other dining-room vessels, and at the same Paul Cezanne time a kind of baroque caricature of Eugene Delacroix's effusive florals in its swirling Rocks at Bibemus, manner. Thus it mapped the epitome of romantic handling onto what might be seen c. 1887-90 8 Watercolor and graphite as its opposite, the quintessence of bourgeois painting. With its dark background on off-white laid paper, and liberal application of opaque whites, it has the look of a miniature version of x 45-9 31.8 cm Cezanne's roiling oils of the same period, and it couldn't be more different from his 1 (i8 /s x izVzin.) late work in watercolor in the genre of still life. Like Sugar Bowl, Pears, and Blue Cup, The Henry and Rose Pearlman Foundation, Inc., and in its very rarity, it too is a kind of marker: of Cezanne's strategy of caricaturing 1.1988.62.35. his forebears and adopting an exaggeratedly expressionist facture to signal a kind of hyper-romanticism—a kind of late-coming sign of the romantic manner; of a concept 123 PENCIL LINES AND WATERCOLORS