< Detail 21 visibly definite contour containing a positive content and distinguishing it from the nega- tive space around it, but as the place where color stops for a moment, where there is an interruption or gap in the color field, a kind of invisible vibration. Meanwhile the down- ward course that it follows highlights the way the edge of the falling fabric is broken into a series of colored marks, ocher followed by blue followed by vermilion and so on, like Detail 22 so many threads of color that make up the woven field of tapestried marks. Line, we see at that boundary where the action of limning turns into liminal area, is at once made of color, an interval within color, and a relative absence of color, while color itself is spun into line, and every color mark is seen to have a linelike edge. We can see that clearly in the strokes ofwatercolor to the right of the fabric's fall, many of which have visible shapes and contours through which we look to see other contoured shapes of color. The nimbus of the falling tapestry stands as a macromarkerofthe micrometamorphosis of line into color and color into line across the length and breadth of the watercolor. The tapestry itself is woven out of a Detail 23 more intricate warp and woofofcolor-as- line and line-as-color. Again, it is important exceptionally intense demonstration of Baudelaire favored and then some: kaleido- to realize that except for the odd fold, scrib- Cezanne's realization of some of Baudelaire's scope, prism, jewel, not to mention stained ble, and bit of contour, there is hardly any most abstractionist remarks about modern glass, veil, and film (details 22, 23). That is, graphite to be mined from this terrain: the art and color: the modern artist acts as a Cezanne worked with the medium ofwater- colored patterning of the fabric has no pencil kaleidoscope, said Baudelaire; color is rela- color in such a way as to emphasize its prop- underpinning. Indeed, the tapestry in its vari- tional and plural in its effects, while working erties of translucency and prismatic refraction. ous areas—heaped into a hill at the upper on the eye and imagination of the viewer Moreover, instead of blending his color in left, falling into a cathedral-like fold at the like a prism or faceted jewel.5 The vibrant water on the palette or the paper, he chose bottom left, and descending with a curved translucency of the textile's weave of color to work with brilliant, unblended, close-to- interior fold at the bottom right—offers an marks calls to mind the very metaphors that primary colors—red, blue, green, ocher, and 115 PENCIL LINES AND WATERCOLORS