Dreyfus and Patricia Allen Dreyfus (Evanston, 111.: watercolor is a subtler version of the sort of word Northwestern University Press, 1964), 9-25. game that crops up in his youthful letters to Zola. (Merleau-Ponty takes the opportunity to critique See Paul Cézanne, Correspondance, éd. John Rewald the tradition of the biography and to invert the (Paris: Editions Grasset et Fasquelîe, 1978), 17-42, usual determining relationship between a hypothe- 45-61 (1858-59). See also Meyer Schapiro, "The sis such as Cezanne's "schizoid" temperament' Apples of Cézanne: An Essay on the Meaning and the oddities of his art, such that it is the art of Still-Life" (1968), in Modern Art: Nineteenth and that gives meaning to that temperament rather Twentieth Centuries (New York: George Braziller, than the other way around.) 1979), 1-38- 18. It is possible that the drawings on this page 21. Rainer Maria Rilke, Lettres sur Cézanne, trans. were done at different times: the bather with Philippe Jacottet (Paris: Editions du Seuil, 1991); outstretched arms relates to a painting that 77. It was Cezanne's uncanny Still Life with a Black has been dated to 1885 (see Cachin and Rishel, Clock (1869-70), which he gave as a gift to Zola Cezanne, 178). and which depicted some of Zola's possessions, that Rilke described this way: "tout à gauche un grand 19. See Theodore Reff and Innis Howe Shoemaker, coquillage baroque du genre triton—étrange avec Paul Cézanne: Two Sketchbooks (Philadelphia: son embouchure rouge et lisse tournée vers nous. Philadelphia Museum of Art, 1989). See also Wayne Son carmin intérieur, qui va s'éclaircissant sur la Andersen, Cezanne's Portrait Drawings (Cambridge courbure." and London: MIT Press, 1970). 22. Here I refer to his Banquet (also known as 20. Cézanne was classically educated, very interested the Feast and the Orgy) of 1867-72 and the set of in language and literature, and tried his hand at images related to it, some of which put elaborate, poetry early on. The language play involved in this baroque still lifes in the foreground. 43 THE BIOGRAPHY OF OBJECTS