Figure 29 close enough to still lifes in their spatiality to straddle the boundary between one Pierre-Auguste Renoir genre and the other, or at least to pose the question of what distinguishes one kind (French, 1841-1919) of study from the other, the indoors from the outdoors. Foliage of around 1895-1900 Calla Lily and Greenhouse (fig. 30), for instance, has none of the distance of a landscape, and its close-up screen Plants, 1864 Oil on canvas, 130 x 196 cm of leaves—with its almost abstract web of pencil and brown, green, and blue water- 3 3 (51 /16 x 77 /ie in.) color marks—seems to bring the optical world of the outdoors all to the foreground, Winterthur, Switzerland, to cancel out any residual atmospheric perspective and carry it into the "manual Oskar Reinhart Collection "Am Rômerholz" 1927.4 space" more usually inhabited by still life. (This is true, too, of Cezanne's remarkabl watercolor studies of rock clefts.) Its patterned leanness is reminiscent of the tapes- Figure 30 tries of Cezanne's still lifes (and sometimes of their background walls). Yet its flat Paul Cézanne verticality, its screenlike quality, and the bareness of the page to the left, which sets Foliage, c. 1895-1900 the patterned marks afloat, counter the materiality, the horizontal plane (whether Watercolor and tabletop, ledge, or other surface), and the separated objecthood that characterize the graphite on paper genre of still life. It hinges on still life, but only, ultimately, to define what still life 44.8 x 56.8 cm (17% x 223/s in.) usually is not, for it offers up a scrim in which the pure sensations of distantiated New York, The Museum sight and close-at-hand touch converge and try to turn into each other, and in which of Modern Art, mark making begins to lose sight of, and touch with, objects in the world. That mark Lillie P. Bliss Bequest making turns back on itself and offers itself up as a study of its own processes of eye- hand coordination: its world of eye and hand is no longer that of objects soliciting gaze and touch, but rather that of the draftsman drawing, the painter painting, and the surface on which he does so. It is ultimately more abstract, flat, and disembodied 70 CÉZANNE IN THE STUDIO