Acknowledgmrents More than ten years ago my friend Carol organizational skills with unflagging good The beautiful installation design can Armstrong came to the Getty to lecture cheer. This is equally true of Sally Hibbard, be credited to Merritt Price, Leon Rodriguez, on Paul Cezanne's Still Life with Blue Pot, Amy Linker, and the excellent team in the and Hillary Spencer of the Exhibition and it was then that we began to plan a Registrar's Office, whose vigilance and hard Design Department. As always, I am tremen- book devoted to this great watercolor. work kept us on course. dously grateful to the team of preparators The book was conceived as hinging on the The book was a thrill to work on, since at the Getty, who carry out installations with interdependency of words and images in we intended the design to play a key role exemplary dedication and care. order to lead the reader-viewer into an ever in guiding its readers through an intensive We received help and advice from more intensive investigation of this water- visual as well as intellectual journey through many individuals and would like to express color, peeling away its layers of meaning until Cezanne's watercolor still lifes. Designer particular appreciation to William and arriving inside Cezanne's dynamic sense Jeffrey Cohen played a key role in making Eleanor Acquavella, Joseph Baillio, Katrin of process. We felt that it was important this vision become a glorious reality, as Bellinger, Cara Denison, Albert Elen, Walter that the book also consider the import, did project editor John Harris and produc- and Maria Feilchenfeldt, Laura Giles, Dorothy from a variety of perspectives, of the entire tion coordinator Anita Keys. In addition, Konsinski, Suzanne Folds McCullagh, body of Cezanne's still lifes in watercolor. I extend my warmest thanks to other Griselda Pollock, Joseph Rishel, Andrew As we contemplated this highly important colleagues in Getty Publications: Patrick Robison, Marie-Pierre Sale, Scott Schaefer, and spectacularly beautiful subset of his Callahan, Mark Greenberg, Chris Hudson, Friederike Steckling, Margret Stuffmann, oeuvre, it became clear that it deserved to Karen Schmidt, and Deenie Yudell. I've and Francoise Viatte. be the subject of an exhibition. been fortunate to collaborate on yet another Finally, supreme thanks go to the It has been a privilege from beginning book with editor Karen Jacobson, whose lenders, who generously agreed to part with to end to work with the many individuals sensitivity and good judgment were an asset their works for the duration of the exhi- who have brought Cezanne in the Studio: as always. The book is dependent on stun- bition. (Their names are listed on the Still Life in Watercolors into being. Most ning photography, and the inspired efforts following page.) Without their support this of all, I wish to thank Carol Armstrong, with of Carol Hernandez and Michael Smith project would never have been possible. whom it has been an honor and supreme in Imaging Services and Anthony Peres and pleasure to collaborate. She has written a Jack Ross in Photographic Services made LEE HENDRIX luminous text that leads us through the this come to pass. beauties and complexities of Cezanne's art Christine Giviskos, Katie Hanson, and Curator of Drawings with consummate eloquence and persuasive David McCormick of the Drawings Depart- J. Paul Getty Museum understanding of the artist's process. ment were invaluable in countless respects. The exhibition would not have taken They worked tirelessly on the book and place without the continued support of exhibition in a wide range of capacities, and Deborah Gribbon and William Griswold, the project would not have come to fruition director and associate director of the Getty without them. We are joined at the hip to Museum, respectively. Quincy Houghton, Paper Conservation, and I am deeply grateful Amber Keller, and the rest of the staff in the to Nancy Yocco, who led us through the Exhibitions Department shepherded its technical examination of Cezanne's water- progress and, as always, lent their invaluable colors and helped in many other ways. X