which was the study and which was the picture, I would choose Still Life with Green Melon as the former and Still Life with Fruit, Carafe, Sugar Bowl, and Bottle as the latter, if only because the first, with its repeatedly contoured end-view of the melon, has fewer objects, put side by side, and is less fully fleshed out than the second; more tightly packed, overlapped, and watercolor-layered; and more fully contextualized, with its side view of the watermelon and its table corner giving onto a bit of implied wall and floor space. At this point, however, the reader may feel that these distinctions between etude and tableau have become so slight and so complicated as to no longer matter. Yet though that is essentially right—they certainly no longer matter much to us— they were distinctions of the studio that had mattered to Cezanne and out of which he developed a different order of conception and execution, and a different logic of pictorial completeness. They haunt his work in the studio, set up as a kind of theater for exercising and confounding such distinctions. They also help to define the pro- cess and pictoriality of the Getty Still Life with Blue Pot, a consummate demonstra- tion of the full realization of the possibilities of Cezanne's new order and logic of the watercolor picture: densely layered, built up the way an oil painting might be; water- colored from corner to corner (except at the center, where the white linen lies); com- plexly composed out of a multitude of objects whose simplicity is turned into a kind of monumental grandeur; possessing an expanded space that runs from back wall to the foreground of the table/sofa to the hint of a seam between wall and floor, pro- ducing a kind of geography; and unified by a tapestry that moves behind, around, and under the composition and offers all the opportunities for layering, peacock col- oring, spatial unfolding, and bravura studio demonstration that in this instance Cezanne decided to seize. 98 clZANNE IN THE STUDIO