Figure 8 Paul Cezanne St/7/ Life with Apples, 1893-94 Oil on canvas, 65.4 x 81.6 cm 3 1 (25 /4 x 32 /s in.) Los Angeles, J. Paul Getty Museum 96.PA.8 realm as well as to the world beyond the confines of both the studio and the home, and that relationship is one of imbrication, off-stage allusion, and substitution, all at once. Which is to say that studio, home, and landscape are related in these still lifes by the hinted inclusion of one in the other, by the suggestion that the atelier, like the canvas itself, is hinged to another world whose edge we are given a glimpse of, and by one standing in place of the other: the studio replaces the kitchen and the larger domestic world of which it is part, just as it stands in for the even larger outer world into which we know the painter ventured, as a painter if not as a person with a pri- vate life warranting a biography. Other still lifes of the period—roughly a decade before-Still Life with Blue Pot—are less spatially expansive, but their Provencal habitat is nonetheless as clear as can be. Such is the case, for instance, with the Getty's own Still Life with Apples of 16 CEZANNE IN THE STUDIO