NOTES 1. "(On pourrait imaginer que quelqu'un ecrivit 3. Andre Fontainas, "Les Aquarelles de Cezanne," une histoire du bleu; depuis le bleu dense, cireux, Mercure de France 16 (July i, 1905): 133-34, cited in des peintures pompeiennes, jusqu'a Chardin, jusqu'a Simms, "Painting on Drawing," 23-24. Cezanne: quelle biographic!) La est en effet 1'origine du bleu tres particulier de Cezanne" (Rainer Maria 4. Rainer Maria Rilke, Briefe uber Cezanne, ed. Rilke, Lettres sur Cezanne, trans. Philippe Jacottet Clara Rilke (Frankfurt-am-Main, 1977), 97, cited in [Paris: Editions du Seuil, 1991], 37). Such a "history" Gotz Adriani, Cezanne Watercolors, trans. Russell has since been written; see Michel Pastoureau, M. Stockman (New York: Harry N. Abrams, 1983), 21. Blue: The History of a Color (Princeton: Princeton University Press, 2001). 5. Robert Delaunay, The New Art of Color: The Writings of Robert and Sonia Delaunay, ed. Arthur 2. Maurice Denis, "La Peinture," L'Hermitage, A. Cohen, trans. David Shapiro and Arthur A. Cohen November 15, 1905, 314; cited in Matthew Simms, (New York: Viking, 1978), 20; cited in Adriani, "Painting on Drawing: Cezanne's Watercolors," in Cezanne Watercolors, 21. Cezanne in Focus: Watercolors from the Henry and Rose Pearlman Collection, ed. Laura M. Giles and 6. Cezanne apparently left his watercolors lying Carol Armstrong (Princeton: Princeton University around on the floor of his studio and outside, Art Museum, 2002), 14. Simms's essay is remarkable "sur le motif"; he gave them away as careless gifts; in its attention to process and medium, aspects of and he threw them into the fire in fits of temper. Cezanne's work that we have discussed together. We He also did this with his oils, however, including a part company in our understanding of the relation- still life that he is said to have thrown into a cherry ship between drawing and color in Cezanne's water- tree in another rage. See Ambroise Vollard, En colors—he understands them as two separate layers, ecoutant Cezanne, Degas, Renoir (Paris: Bernard with drawing always underlying color as it does in Grasset, 1938), 47, 77, cited in Adriani, Cezanne the Western pictorial tradition; I see it quite other- Watercolors, 71. wise, as I have argued in this monograph. Moreover, his phenomenological emphasis is on perceptual 7. Emile Bernard, "Souvenirs sur Paul Cezanne" process, whereas it is my view that what is so (1907), in Propos sur I'art, vol. i, ed. Anne Riviere remarkable about Cezanne's watercolors, in partic- (Paris: Seguier, 1994), 137, cited in Simms, "Painting ular, is their dramatization of the manual process on Drawing," 14. of making, or rather the eye-hand relay of the thor- oughly interwoven acts of drawing and painting. 140 CEZANNE IN THE STUDIO