is germane to its objects as well as its effects. where finalize the composition and relieve combination of "feminine"'slimness and Its objects sit still; its process is that of the the blue that so dominates the arrangement recessiveness and "masculine"rectilinearity, studio, not the open air; its pictoriality is in its perfect conflation of drawing and color, and its effort to stand up to the fat blue immense and grand, in spite of its low gen re; its inversion o/dessin into coloris, color into swagger of the blue pot, to side with and and its evocation of landscape has to do with design. It points as well to the interest of come closer to the hesitation of the teetering its rich, bright colorism and expansive, bodily interstitial spaces for Cezanne—the interest, little white pot, with its genetic mixture spatiality. That touch of green punctuates for instance, of that handle that could be of pitcher and pot, white and blue, recession all of that. It also punctuates the process of gripped by a hand, fingertips curling through and projection. Finally, it terminates. Not watercoloring, both for the painter himself its opening, just as the painter's hand drew, a culminating point—the pitcher appears to and for all the viewers who come after. It redrew, painted, and repainted its inner and have none—that green mark is a point of points to the overlay of colors and graphite outer contours, like a potter shaping his pot. culmination. It puts a green period to Still Life that makes up each object in the watercolor. And it highlights the white pitcher's struggle with Blue Pot. Full stop. It points to the bits of red and black that else- to emerge from white paper, its sidelined 139 FINISHING TOUCHES