in my view; is what Cezanne's late watercolors in particular, and especially his late watercolor still lifes, argue repeatedly: the artist sees and learns to see by drawing and by painting as much as the other way around. His eye looking at objects is nego- tiated by his hand making marks on paper; his drawing and painting are educated by drawing and painting and more drawing and painting as much as by seeing itself, and in tandem with seeing; he never stops learning how to draw and to paint and indeed repeatedly learns it from the ground up in the very act of drawing and paint- ing. As much as the seeing with which they are imbricated, drawing and painting are acts that take place in bodily time, and they need the studio for their constant rehearsal. Finally, drawing and painting respond to each other in an intricate mate- rial dance that seeks out the very boundaries, both physical and metaphysical, between line and color in order to probe and question them.12 Merleau-Ponty himself often characterized the living phenomenon of percep- tion as a form of "drawing": "definite qualities only draw themselves [se dessinent] in the confused mass of our impressions if it is put in perspective and coordinated by 13 14 space"; "sound and color . . . draw an object, an ashtray or a violin." And one of Merleau-Ponty's prime demonstrations of phenomenological experience concerns a drawinglike action of the arm, hand, and pencil: If I pass a pencil rapidly in front of a sheet of paper where I have marked a point of reference, at no moment am I conscious that the pencil lies above that reference point, I do not see any of the interme- diate positions but nevertheless I have the experience of movement. Reciprocally, if I slow down the movement so that I keep the pencil in sight at all times, at this point the impression of movement disap- pears. Movement disappears at the very moment when it conforms most to the definition which objective thought gives to it. Thus one can have phenomena in which a moving thing only appears when taken in movement. To be aware of moving is not to pass step by step through an indefinite series of positions, it is only given in starting, continuing and achieving its movement.15 Comparing this experience of movement with that of watching the moving arms of workers unloading a truck, Merleau-Ponty goes on to elaborate this contrast between the geometrical plotting of movement in "objective thought" and the phe- nomenological feeling of movement in space. We might apply his statement to Cezanne's rehearsal of the action of drawing in both line and color in his late water- colors, as in Still Life with Carafe, Bottle, and Fruit, in which it is not so much the point- by-point geometry of the carafe that his repeated contour captures for the "objective" eye once and for all, as the experience of drawing recapitulated for the empathic eye over and over again (fig. 44). Merleau-Ponty also attempted to describe the kinesthetic properties of colors such as blue, and perhaps the blues, greens, purples, and rose reds that run over and under the graphite lines (which at the same time run over and 130 CEZANNE IN THE STUDIO