questions of volume and overlap and bal- ance; of before and behind and between; of singling out, clustering, and numbering one, two, three, or more; encounters between the optical and tactile aspects of the object world; the charting of objective space by 2 the subjective eye. Yet there are nonetheless landscapelike things about this still life. Horizon and distance; foreground, middle ground, and background; atmospheric per- spective; ravines, crevices, and valleys; mountains, boulders, and bridges; hills, hol- lows, and waterfalls: these are words that describe the space of landscape. They are also words that describe this as well as other still Ufes by Cézanne, with their hallucinatory indeterminacy of scale and bodily address. A horizon line is surely evoked by the wainscoting course that slices through Still Life with Blue Pot about two-thirds of the way up from the bottom of the image (detail 4). The coloration is more or less green-blue, like sky, above that line, and more or less red- brown, like earth, below it. Both above and Detail 4 below that line, the coloration is mixed with greens and reddish tints, in Cezanne's habi- tual tessera-shaped brush strokes and his planes of pictorial support and perspectival studio at Les Lauves (fig. 18). Horizon lines equally habitual manner of unifying his com- distance, rather than the close-up horizon- are fundamental to the space of landscape position by means of the nonlocal distribution tality of the object world and its ground. It is painting, constituting it as such, defining of the colors of his palette across the space significant, as well, that that line is a bit its back limits as well as the meeting between of the paper. Nonetheless, that line does irregular, especially toward the left, with its above and below, sky and land, and describ- mark a general shift in coloration as well dip downward, and that it is interrupted, also ing the profile of the land that is so crucial to as a shift toward the top in degree of trans- toward the left, by the hill of flowered tapes- it, that makes a landscape recognizable parency, suggesting the lightness of air above try (detail 5), just as Mont Sa inte-Victoire as a landscape even when abstracted from its the line where the land ends. It is significant, typically erupts from the left-hand side local landmarks and its illusion of three- also, that that line belongs to the background of the horizon line of the flat Provençal plain dimensionality. (One might think ahead to wall rather than to a table or ledge and thus of Cezanne's native Aix (fig. 17), or a hill Helen Frankenthaler's and Richard to enframing architecture, and the vertical cascades down past a road on the way to the Diebenkorn's landscapelike abstractions.) 48 CÉZANNE IN THE STUDIO