NOTES 1. For inventories of the objects found in the modernist line—they figure in all discussions of Cezanne's last studio, see Michel Fraisset, Les Vies Picasso's Demoiselles d'Avignon, for instance, and silencieuses de Cezanne: Texte et illustrations des whether or not it was a Cubist work. See, for example, conferences donnees par Michel Fraisset, directeur J. M. Nash, Cubism, Futurism, and Constructivism de I'Atelier Cezanne a Tokyo, Atlanta, Harbin, Pekin (London: Thames and Hudson, 1974), 10-11: "There en 1999 (Aix-en-Provence: Office du Tourisme were two artists of the nineteenth century who, by d'Aix-en-Provence, 1999); Michel Fraisset, Atelier de 1906, were at once heroic in their genius and in- Cezanne (Aix-en-Provence: Editions aux arts, n.d.). evitably associated with compositions of nudes. The Of the objects in Still Life with Blue Pot, the octago- one whose influence on Cubism is unmistakable is nal pitcher is listed in Les vies silencieuses de Paul Cezanne. His late paintings of women bathing, Cezanne as among the "objets perdus" of the studio, often thought to be the climax of his career, have but the metal pot and sugar bowl are not and been taken to be important influences on Picasso must have rusted away. They are not the most com- when he was creating the Demoiselles. Cezanne died monly found objects in Cezanne's still lifes; indeed, in 1906, and his achievement was widely recognized they are even cheaper and simpler than those that as the greatest in contemporary art." See also do recur more often. William Rubin, "Cezannisme and the Beginnings of Cubism," in Cezanne: The Late Work (New York: 2. On the history of watercolor, particularly Museum of Modern Art, 1977), 151-202. For recent in England, with which the medium was closely discussions of the Bathers, which take their centrality associated since the eighteenth century, see Ann to modern art and to Cezanne's art for granted, Bermingham, Learning to Draw: Studies in the see T. J. Clark, "Freud's Cezanne," in Farewell to Cultural History of a Polite and Useful Art (New an Idea (New Haven and London: Yale University Haven: Published for the Paul Mellon Centre for Press, 1999), 139-67; and Tamar Garb, "Cezanne's Studies in British Art by Yale University Press, Late Bathers: Modernism and Sexual Difference," 2000). On watercolor practice more generally, see in Bodies of Modernity: Figure and Flesh in Fin-de- Marjorie B. Cohn, Wash and Gouache: A Study of Siecle France (London: Thames and Hudson, 1998), the Development of the Materials of Watercolor 197-218. See also Griselda Pollock, "What Can We (Cambridge: Center for Conservation and Technical Say about Cezanne These Days?" Oxford Art Journal Studies, Fogg Art Museum, Harvard University, 13, no. i (19 .): 95-101. 1977); Jean Leymarie, Watercolor from Dilrer to Balthus (New York: Skira/Rizzoli, 1984); and Walter 4. Cezanne had several watercolors in the Impres- Koschatzky, Watercolor History and Technique, trans. sionist exhibition of 1877, including Still Life: Mary Whittall (New York: McGraw-Hill, 1970). On Flowers and Fruit on a Table (pi. 21); see John the French tradition, see Alain de Leiris and Carol Rewald, Paul Cezanne: The .Watercolors, a Catalogue Hynning Smith, From Delacroix to Cezanne: French Raisonne (Boston: Little, Brown, 1983), 84. At his Watercolor Landscapes of the Nineteenth Century first solo exhibition at Vollard's gallery in Paris (College Park: Art Department Gallery, University of ne in 1895, included some watercolors, and then in Maryland, 1977); Louis Reau, Un Siecle d'aquarelle 1905 he had an exhibition of watercolors alone de Gericault a nos jours (Paris: Charpentier, 1942); at Vollard's. And then in 1907, the year following Francois Daulte, French Watercolors of the Nine- Cezanne's death, an exhibition of seventy-nine teenth Century, trans. Frances Bap and David Joyce watercolors was held at Bernheim-Jeune, coinciding (New York: Viking, 1969). with the extremely influential retrospective of fifty-six paintings at the fifth Salon d'Automne. His 3. The late Bathers culminate decades of oils watercolors were admired by Edgar Degas (who and drawings of groups of nude figures, male and bought Three Pears [pi. 21]), Emile Bernard, Maurice female. None of them was done from life, though Denis, Rainer Maria Rilke, Robert Delaunay, and all recall the practice of studying from the model in many others, who saw in them immense skill and the studio, and most were likely done in the studio. the beginnings of abstraction. On Cezanne's water- The late Bathers were too large to be taken outdoors, colors and their reception, see Felix Baumann et al., and thus Cezanne must have been at work on them Cezanne: Finished-Unfinished (Vienna: Kunstforum all the while that he was producing his late studio Wien, 2000); Gotz Adriani, Cezanne Watercolors, watercolors of still-life subjects. The Bathers, unlike trans. Russell M. Stockman (New York: Harry N. the still lifes, however, have always been at the Abrams, 1983); William Rubin, Cezanne Watercolors forefront of discussions of Cezanne's importance to (New York: Acquavella Galleries, 1999); Antoine 6 CEZANNE IN THE STUDIO