Plate 11 Paul Cézanne n between studio and open air are the potted Such intermediate subjects had been taken up Geraniums, 1888-90 I plants that inhabit the garden — or the earlier by the gardening painters Claude Monet, Watercolor and graphite greenhouse—but make it into a walled-off Pierre-Auguste Renoir, and Gustave Caillebotte as on buff paper, 31 x 27 cm 5 extension of the interior of house and studio. well, as "modern life" variations on the old sub- (izV4 x io /s in.) Washington, D.C., National Such is the case with Ceraniums. It presents ject of the flower piece, ¡n which the flowers were Gallery of Art, Collection a scrim of foliage that mediates between figure now rooted in the nineteenth-century middle- of Mr. and Mrs. Paul Mellon and ground, singular object and tapestry-like class garden. But ¡n Cezanne's case, the up-to- patterning, worked and unworked areas of date context is missing; instead the subject paper—as if the wall that separates the garden asserts its in-betweenness, between indoor and from the house or the world beyond the painter's outdoor study, still-life subject and foliate sketch. property has mutated into the flat surface of the paper on which the painter draws and paints. 69 THE LANDSCAPE OF STILL LIFE