opposite of the first, having to with a fascination 18. On Fantin-Latour (and Manet), see Pryzlbyski, with the materiality of a textured surface and a "Le Parti pris des choses," 161-227. See also Douglas nonvolumetric solicitation to touch, which does not Druick and Michel Hoog, Fantin-Latour (Ottawa: yield visual comprehension, and which in fact National Gallery of Canada/National Museums verges on a kind of blindness: close-up rather than of Canada, 1983), esp. 132-34, no. 37, on the Toledo distantiated, somatic rather than epistemological, Hydrangeas, Ranunculus, and Fruit of 1866, which this is touch at odds with sight rather than sight was one of a pair of still lifes commissioned by an extending and sublimating touch. Cezanne's paint- English patron, and shown at the Royal Academy ing and drawing lie closer to the former sense of but not at the Salon (it is, however, like many others tactile, "haptic," or "manual" space, while also that Fantin-Latour painted and showed during these complicating it. See Alois Riegl, "Excerpts from The years); and 263-65, no. 97bis, on Still Life with Dutch Group Portrait" trans. Benjamin Binstock, Torso and Flowers of 1874, which was shown at the October 74 (fall 1995): 3-35; and Heinrich Wôlfflin, Salon of that year. Principles of Art History: The Problem of the Development of Style in Later Art (1915), trans. M. D. 19. Clement Greenberg, "Cézanne and the Unity Hottinger (New York: Dover Publications, 1950). of Modern Art" (1951), in Clement Greenberg: The Collected Essays and Criticism, ed. John O'Brian 15. On these still lifes, see Robert Gordon and (Chicago and London: University of Chicago Press, Andrew Forge, The Last Flowers of Manet, trans. 1993), vol. 3, 90. See also Greenberg, "Cézanne: Richard Howard (New York: Harry N. Abrams, Gateway to Contemporary Painting" (1952), ibid., Abradale Press, 1986); and George Mauner, Manet: 113-18. The Still-Life Paintings (New York: Harry N. Abrams in association with American Federation of Arts, 20. This is the case, for example, in Edmond 2000). Duranty's contrast between the closed themes of the academic studio and the opened-up world of motifs 16. For his part, Fantin-Latour could not stand undertaken en plein air, in "La Nouvelle Peinture" Cezanne's work; see Ambroise Vollard, En écoutant of 1876, the pamphlet that accompanied the second Cézanne, Degas, Renoir (Paris: Bernard Grasset, Impressionist exhibition. See Charles S. Moffett, 1938), 50- éd., The New Painting: Impressionism, 1874-1886 (San Francisco: Fine Arts Museums of San 17. On this painting, see Bois, "Cézanne: Words and Francisco, 1986), 37-49. Deeds"; he treats many of the issues of phenomeno- logical and corporeal space that I address here. 21. See Cachin and Rishel, Cézanne, 492, no. 213. 73 THE LANDSCAPE OF STILL LIFE