Terrasse, Les acquarelles de Cezanne (Paris: Flam- 1987); and Richard Wollheim, "Giovanni Morelli and marion, 1995); John Coplans, Cezanne Watercolors the Origins of Scientific Connoisseurship," in On (Pasadena: Pasadena Art Museum; Los Angeles: Art and Mind (Cambridge: Harvard University Press, Ward Ritchie Press, 1967); Lawrence Cowing, 1974), 177-201. Fry's discussion of the unconscious Watercolour and Pencil Drawings by Cezanne meaningfulness of insignificant subject matter, (London: Northern Arts and the Arts Council of and his notion of "handwriting," ultimately descends Great Britain, 1973); and Laura M. Giles and Carol from such Morellian ideas. Armstrong, eds., Cezanne in Focus: Watercolors from the Henry and Rose Pearlman Collection (Princeton, 8. Meyer Schapiro, "The Apples of Cezanne: An N.J.: Princeton University Art Museum, 2002). Essay on the Meaning of Still-Life" (1968), in Modern See also Adrien Chappuis, The Drawings of Paul Art: Nineteenth and Twentieth Centuries (New York: Cezanne: A Catalogue Raisonne (Greenwich, Conn.: George Braziller, 1979), 1-38, esp. 12. New York Graphic Society, 1973). 9. See Yve-Alain Bois, "Matisse and 'Arche- 5. Roger Fry, Cezanne: A Study of His Development Drawing,'" in Painting as Model (Cambridge and (1927; Chicago: University of Chicago Press, 1989), London: MIT Press, 1990), 3-63. 37-52. 10. For Cezanne's status as the old master or "primi- 6. Ibid., 39. tive" of modernism, discovered by the new genera- tion of the fin-de-siecle, see Emile Bernard, Souvenirs 7. On Fry, the Bloomsbury school of formalism, sur Paul Cezanne, et lettres (Paris: R. G. Michel, and its derivation from Bernard Berenson's art his- 1925) (first published in Mercure de France in 1905 torical usage of Giovanni Morelli's notions of the and 1907, and as a book in 1912); and Maurice physiognomic significance of the rendering of appar- Denis, "Cezanne," in Theories, 1890-1910: Du sym- ently insignificant features such as ears and hair, bolisme et de Gauguin vers un nouvel ordre classique see Christopher Reed, A Roger Fry Reader (Chicago (Paris: L. Rouart et J. Watelin, 1920), 2461 (first and London: University of Chicago Press, 1996); published in L'Occident in 1907 and in Burlington Beverly H. Twitchell, Cezanne and Formalism in Magazine, translated by Roger Fry, in 1910). Bloomsbury (Ann Arbor, Mich.: UMI Research Press, 7 OPENING LINES