to the filling in, layering over, and finishing red stripes on the cloth, much of the brightly off by watercolor: instead of separate layers, colored design of the tapestry, and all of they suggest a threading of pencil through the wall, including the horizon line of wain- and through, and a reiterative, intricated, scoting, the double line of molding where the dialogic relation between graphite lines and wall meets the floor, and the two large zones Detail 14 watercolor veils. Such a relation is suggested of wall surface, light and dark, that they as well in the two swoops of pencil left par- demarcate. Indeed, the archaeology of tially evident in the folds beneath the pitcher, Still Life with Blue Pot reveals that whereas irresolution while unsettling every act of partly bolstered and partly countermanded graphite congregates in the center of the object definition. There was no pictorial in the parentheses of blue and the veils of composition, next to a large zone of mostly product finally free of process for Cezanne in rose laid over it (detail 15). It is suggested empty white paper, it thins out and disap- his late years, no objective world free of as well in the loose, blunt-pencil scribble pears toward the perimeter of the work. This subjective interaction with it, no visual per- of graphite below and perhaps also over the is not to say that the peripheral regions of ception free of imagined tactile apprehension fold in the very center of the linen, just below the still life were unimportant to Cezanne or or the very real physical touching of hand the second apple from the left. And it is indi- insignificant to the viewer. On the contrary, and pencil to paper: one comes into fragile cated in the quick swirl of pencil that escapes they allow fora dialogue between object being through the other while constantly from beneath the red stripe to the left. composition and free surface that reads as verging on dissolution—as if the kinetic state There are many areas in the watercolor open space, between densely and thinly of matter were all tangled up with the equally where no pencil lines at all are to be found, worked areas; they provide relief and breath- kinetic and equally entangled acts of per- whether visible or buried beneath color: the ing room, encouraging the to-and-fro of ception and delineation. The pencil lines beneath the light and darker blues of the white pot lie uncovered for a moment in two crisscrossing lines in the free white zone of the pot's lid, between the two peaked points of left rim and lid tip, reinforced as they are by blue darkening to black (detail 14). Those pencil marks, like the quick X over the red stripe at the right edge of the linen, are freer and darker than the others. Such marks call into question the underdrawing status of the graphite, and while they provide no certainty as to whether they were either final or later than the fainter marks located beneath areas ofwatercolor, they do propose a different kind of relation between drawing and painting than the linear trajectory from initial conception in pencil Detail 15 108 CEZANNE IN THE STUDIO