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{\fhiminor\f31571\fbidi \fswiss\fcharset161\fprq2 Calibri Greek;}{\fhiminor\f31572\fbidi \fswiss\fcharset162\fprq2 Calibri Tur;}{\fhiminor\f31575\fbidi \fswiss\fcharset186\fprq2 Calibri Baltic;}
{\fhiminor\f31576\fbidi \fswiss\fcharset163\fprq2 Calibri (Vietnamese);}{\fbiminor\f31578\fbidi \froman\fcharset238\fprq2 Times New Roman CE;}{\fbiminor\f31579\fbidi \froman\fcharset204\fprq2 Times New Roman Cyr;}
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\pnlcrm\pnstart1\pnindent720\pnhang {\pntxtb (}{\pntxta )}}\pard\plain \ltrpar\s17\ql \li0\ri0\keep\keepn\widctlpar\wrapdefault\aspalpha\aspnum\faauto\outlinelevel1\adjustright\rin0\lin0\itap0\pararsid12541185 \rtlch\fcs1 \ab\af1\afs28\alang1025 
\ltrch\fcs0 \b\fs28\lang2057\langfe1033\loch\af1\hich\af1\dbch\af31501\cgrid\langnp2057\langfenp1033 {\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 \hich\af1\dbch\af31501\loch\f1 ÁùºÏ²ÊÔ¤²â Technical Bulletin Volume 29, 2008
\par }\pard\plain \ltrpar\s1\ql \li0\ri0\keep\keepn\widctlpar\wrapdefault\aspalpha\aspnum\faauto\outlinelevel0\adjustright\rin0\lin0\itap0\pararsid12541185 \rtlch\fcs1 \ab\af1\afs21\alang1025 \ltrch\fcs0 
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\par }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 \hich\af1\dbch\af31501\loch\f1 \hich\f1 Ways of Making: Practice and Innovation in C\'e9\loch\f1 zanne\hich\f1 \rquote \loch\f1 s Paintings in the ÁùºÏ²ÊÔ¤²â\line Elisabeth Reissner

\par }\pard\plain \ltrpar\ql \li0\ri0\widctlpar\wrapdefault\faauto\rin0\lin0\itap0\pararsid8606978 \rtlch\fcs1 \af1\afs21\alang1025 \ltrch\fcs0 \f1\fs24\lang2057\langfe1033\cgrid\langnp2057\langfenp1033 {\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid8606978\charrsid12541185 
\par C\'e9zanne wrote to the artist Emile Bernard on 26}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 May 1904 that \lquote The litterateur expresses himself in}{\rtlch\fcs1 
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\ltrch\fcs0 \insrsid8606978\charrsid12541185 to his sensory experiences, his perceptions, by means of}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
drawing and colour. One cannot be too scrupulous, too}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 sincere or too submissive to nature; but one is more or}{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 less master of one\rquote s model, and especially of one\rquote s means}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 of expression\rquote  (note 1).}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  
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\par }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 There are scattered references in C\'e9zanne\rquote s letters}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
to the purchase of brushes, tubes of paint and canvases,}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 but very few references to \lquote his means of expression\rquote  in}
{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 the sense of his methods of painting. Those interested}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 have had to rely primarily on information gleaned}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
from their own viewing of C\'e9zanne\rquote s paintings and}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 on second-hand contemporary accounts of his palette,}{\rtlch\fcs1 
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\par }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 This article will present the findings of investigations}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
into the materials of eight paintings by C\'e9zanne in the}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 ÁùºÏ²ÊÔ¤²â: }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 
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\ai\af1 \ltrch\fcs0 \i\insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 Poplars }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 (NG 6457), }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 
\i\insrsid8606978\charrsid12541185 c}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 .1885 \endash 7, }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 Avenue at Chantilly }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid8606978\charrsid12541185 (NG}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 6525), }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 c}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 .1888, }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 Hillside in Provence }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 (NG 4136), }{\rtlch\fcs1 
\ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 c}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 .1890\endash 2,}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 
\i\insrsid8606978\charrsid12541185 An Old Woman with a Rosary }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 (NG 6195), }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 c}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid8606978\charrsid12541185 .1895\endash 6}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 (probably), }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 
\i\insrsid8606978\charrsid12541185 The Grounds of the Ch\'e2teau Noir }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 (NG 6342),}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 
\i\insrsid8606978\charrsid12541185 c}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 .1900\endash 4, }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 Bathers (Les Grandes Baigneuses) }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid8606978\charrsid12541185 (NG 6359),}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 c}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 .1894\endash 
1905 (see plates 1\endash 8) (note 3). It will then examine}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 the way in which C\'e9zanne chose to use his materials}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 between 1880 and his death in 1906. This will inform}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 our understanding of his conception of the nature of}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
painting and our assessment of his originality.}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  
\par }\pard\plain \ltrpar\s2\ql \li0\ri0\keep\keepn\widctlpar\wrapdefault\aspalpha\aspnum\faauto\outlinelevel1\adjustright\rin0\lin0\itap0\pararsid12541185 \rtlch\fcs1 \ab\af1\afs21\alang1025 \ltrch\fcs0 
\b\i\fs24\lang2057\langfe1033\loch\af1\hich\af1\dbch\af31501\cgrid\langnp2057\langfenp1033 {\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid9984463 
\par }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 \hich\af1\dbch\af31501\loch\f1 Colour merchants}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185 \hich\af1\dbch\af31501\loch\f1  
\par }\pard\plain \ltrpar\ql \li0\ri0\widctlpar\wrapdefault\faauto\rin0\lin0\itap0\pararsid8606978 \rtlch\fcs1 \af1\afs21\alang1025 \ltrch\fcs0 \f1\fs24\lang2057\langfe1033\cgrid\langnp2057\langfenp1033 {\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid8606978\charrsid12541185 C\'e9zanne\rquote s letters provide evidence that he used Julian}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
Tanguy as a colour merchant (note 4). Tanguy traded paints for}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 works of art for many years and his shop in the rue}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 Clauzel in Paris was the only place where C\'e9zanne\rquote s}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 paintings could be seen. \lquote P\'e8re Tanguy\rquote , as he was known,}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid8606978\charrsid12541185 ground pigments in the back of the shop (note 5). There is no}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
evidence to date that Tanguy stamped the reverse of}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 canvases that he supplied. According to Pissarro they}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 were of inferior quality (note 6). However, in a recent study it}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 was found that although Tanguy charged ten per cent}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
less than major suppliers, there was nothing to differentiate}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 his materials (note 7). Correspondence in 1878 and 1885}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 reveals that C\'e9zanne owed money to Tanguy for painting}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 supplies and was in debt to him for many years (note 8).}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
Tanguy died in 1894 but there is material evidence to}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 suggest that C\'e9zanne used other colour merchants, or at}{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 least other suppliers of canvas supports, before that date.}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  
\par 
\par }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 Of the ÁùºÏ²ÊÔ¤²â C\'e9zannes only one, }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 An}{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid2775096\charrsid12541185  }{
\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 Old Woman with a Rosary}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 , is unlined. It is therefore}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 possible to see the canvas stamp of the colour merchant}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
Chabod on its reverse. It reads, \lquote Rue Jacob, M Chabod,}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 Md de Couleurs, Extra Fines, Toiles et Tableaux, Rue}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 Jacob\rquote , indicating that he supplied colours and canvases.}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185 
 }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 C\'e9zanne\rquote s }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 Route Tournante}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 , }{\rtlch\fcs1 
\ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 c}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 .1905, has an identical}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid8606978\charrsid12541185 stamp and Seurat\rquote s }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 Woman powdering her Nose }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 of 1886}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid9666439\charrsid12541185  (note }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 9}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid9666439\charrsid12541185 )}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid8606978\charrsid12541185 has a stamp with the same address but different wording}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 and format}{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid9666439\charrsid12541185  (note }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 10}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid9666439\charrsid12541185 ).}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
 A Chabod stamp, this time with a different}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 address, was found on the reverse of C\'e9zanne\rquote s }{\rtlch\fcs1 \ai\af1 
\ltrch\fcs0 \i\insrsid8606978\charrsid12541185 Dr}{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 Gachet\rquote s House at Auvers }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid8606978\charrsid12541185 (Paris, Mus\'e9e d\rquote Orsay) painted}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 in 1872\endash 5. It read \lquote 
fournisseur Chabod, successeur de}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 Bovard, marchand de couleurs et de toiles et tableaux,}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 rue de Bucy 15\rquote }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid9666439\charrsid12541185  (note }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
11}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid9666439\charrsid12541185 ).}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185  Chabod appears in the commercial}{\rtlch\fcs1 \ab\af1 \ltrch\fcs0 \b\insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid8606978\charrsid12541185 almanacs for the years 1870\endash 2 and then also for the}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 years 1888\endash 
90 at 20 rue Jacob. C\'e9zanne also mentions}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 him in his sketchbooks}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid9666439\charrsid12541185  (note }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 12}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid9666439\charrsid12541185 ).}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185  Am
ong the sums of money}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 he owed for sundry items is 4 \endash  no unit of currency}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 given \endash  to Chabod. In a letter dated after 1900 (the}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid8606978\charrsid12541185 exact year in the text is unclear) C\'e9zanne writes to a}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 \lquote monsieur\rquote 
 asking for burnt lake pigment from \lquote maison}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 Chabod\rquote }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid9666439\charrsid12541185  (note }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 13}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid9666439\charrsid12541185 ).}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid470276\charrsid12541185 
\par 
\par }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 There are a number of other references to colour}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 merchants in C
\'e9zanne\rquote s letters. In October 1866 he}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 wrote to Pissarro from Aix-en-Provence saying that the}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 paints were hard to come by and very expensive. While}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid8606978\charrsid12541185 at Vernon in 1885 C\'e9zanne asked his friend Zola to}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
accept delivery of some canvases. In 1894 he wrote to}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 \lquote a dealer in art supplies in Melun\rquote  about some canvases}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 and in two letters of 1905 and 1906 he wrote from Aix}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 and Fontainebleau to \lquote art supply dealers\rquote  regarding the}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid8606978\charrsid12541185 delivery of canvases, paints and a palette. Finally on 28}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
September 1906 he wrote to his son that he had sent}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 five tubes of paint back to \lquote Vignol\rquote }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid9666439\charrsid12541185  (note }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 14}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid9666439\charrsid12541185 ).}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
 (The reference to}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 Vignol is unclear but he may have been an art supply}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 dealer.) There is also evidence in the form of invoices}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid8606978\charrsid12541185 and a letter that C\'e9zanne used pigments and canvases}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
supplied by Sennelier, Lefranc et Cie and also Bourgeois}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 A\'een\'e9}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid9666439\charrsid12541185  (note }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 15}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid9666439\charrsid12541185 ).}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
 In fact, it seems that C\'e9zanne used paints}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 from a variety of manufacturers, sometimes purchased}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 through a single dealer and sometimes directly from}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid8606978\charrsid12541185 the manufacturer.}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid470276 
\par }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid9984463\charrsid12541185 
\par }\pard\plain \ltrpar\s2\ql \li0\ri0\keep\keepn\widctlpar\wrapdefault\aspalpha\aspnum\faauto\outlinelevel1\adjustright\rin0\lin0\itap0\pararsid12541185 \rtlch\fcs1 \ab\af1\afs21\alang1025 \ltrch\fcs0 
\b\i\fs24\lang2057\langfe1033\loch\af1\hich\af1\dbch\af31501\cgrid\langnp2057\langfenp1033 {\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 \hich\af1\dbch\af31501\loch\f1 Canvases}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid2775096\charrsid12541185 \hich\af1\dbch\af31501\loch\f1  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid470276\charrsid12541185 
\par }\pard\plain \ltrpar\ql \li0\ri0\widctlpar\wrapdefault\faauto\rin0\lin0\itap0\pararsid8606978 \rtlch\fcs1 \af1\afs21\alang1025 \ltrch\fcs0 \f1\fs24\lang2057\langfe1033\cgrid\langnp2057\langfenp1033 {\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid8606978\charrsid12541185 There is both documentary and physical evidence that it}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 was C\'e9zanne\rquote 
s practice to use standard-sized canvases}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid9666439\charrsid12541185  (note }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 16}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid9666439\charrsid12541185 ).}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 In his letters he mentions canvases sizes 20, 25 and 40.}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 C\'e9zanne most regularly used the \lquote figure\rquote  sizes 30 (92 x}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid8606978\charrsid12541185 73 cm), 25 (81 x 65 cm), 20 (73 x 60 cm) and 8 (46 x 38}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
cm), and his large-format paintings were executed on}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 canvases ranging from no. 40 to no. 120}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid9666439\charrsid12541185  (note }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 17}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid9666439\charrsid12541185 ).}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185  Among the}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 ÁùºÏ²ÊÔ¤²â C\'e9zannes there is a figure 5 (35 x 27}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 cm), a figure 20, three figure 25s and a figure 30. These}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
sizes support the idea that C\'e9zanne tended to work on}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 larger canvases later in his career}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid9666439\charrsid12541185  (note }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 18}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid9666439\charrsid12541185 ).}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185  }{\rtlch\fcs1 
\ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 Bathers }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 and the other}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid8606978\charrsid12541185 two versions of the subject painted in the last years of}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 his life are C\'e9zanne\rquote 
s largest paintings on canvas. Only}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 The Stove in the Studio }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid8606978\charrsid12541185 and }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 Bathers }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 have non-standard}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 dimensions}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid9666439\charrsid12541185  (note }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 19}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid9666439\charrsid12541185 ).}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185  It is probable that }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 Bathers }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid8606978\charrsid12541185 was the version}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 inventoried after the artist\rquote s death when found off its}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 stretcher in the studio at the rue Boulegon}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid9666439\charrsid12541185  (note }{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 20}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid9666439\charrsid12541185 ).}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185  Photographs}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 such as the one taken in his studio in Paris in}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid8606978\charrsid12541185 1894 show C\'e9zanne working on stretched canvases (fig.}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 1)}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid9666439\charrsid12541185  (note }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 21}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid9666439\charrsid12541185 ).}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185  Where C\'e9
zanne depicts his own paintings they}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 are also seen on stretchers}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid9666439\charrsid12541185  (note }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 22}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid9666439\charrsid12541185 ).}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
 However, Bernard does}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 recall seeing canvases (which in his view had been}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 abandoned) drying in the studio off their stretchers and}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid8606978\charrsid12541185 tacked to the wall}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid9666439\charrsid12541185  (note }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 23}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid9666439\charrsid12541185 ).}
{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid470276\charrsid12541185 
\par 
\par }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 C\'e9zanne mainly uses the commercial }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 \'e9tude }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 canvas}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 before his financial situation improved in the 1880s,}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 but he does not stop using them completely later in}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid9666439\charrsid12541185 
his career (note 24). The }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid9666439\charrsid12541185 \'e9tude }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid9666439\charrsid12541185 canvas is medium weight, with}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid9666439\charrsid12541185 a loose, open weave giving a fairly bland texture. It is}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid9666439\charrsid12541185 comprised of fine, thin and irregular threads of linen. Of}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid9666439\charrsid12541185 the National Galle
ry paintings only }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid9666439\charrsid12541185 An Old Woman with}{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid9666439\charrsid12541185 a Rosary }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid9666439\charrsid12541185 and }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid9666439\charrsid12541185 Bathers }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid9666439\charrsid12541185 have more finely woven canvas.}{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid9666439\charrsid12541185 C\'e9zanne does not appear to have favoured strongly}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid9666439\charrsid12541185 textured supports (note 25).}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid470276\charrsid12541185 
\par 
\par }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid9666439\charrsid12541185 There is evidence that the canvases that C\'e9zanne}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid9666439\charrsid12541185 
bought from Chabod had been commercially primed}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid9666439\charrsid12541185 on a large bolt prior to stretching, either by Chabod}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid9666439\charrsid12541185 himself or by another manufacturer (note 26). The Chabod}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid9666439\charrsid12541185 canvas stamp on }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid9666439\charrsid12541185 An Old Woman with a Rosary }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid9666439\charrsid12541185 is placed}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid9666439\charrsid12541185 in the bottom left-hand corner, and is partly obscured}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid9666439\charrsid12541185 by the stretcher bar, indicating that it was put on by the}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid9666439\charrsid12541185 
colour merchant before he attached it to the stretcher.}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid9666439\charrsid12541185 It is also possible that C\'e9zanne bought the stretcher and}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid9666439\charrsid12541185 a roll of pre-primed canvas separately and assembled}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid9666439\charrsid12541185 them himself. The ground extends into the tacking}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid9666439\charrsid12541185 margins
 on all sides of the canvas except the top, showing}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid9666439\charrsid12541185 that it was not primed after stretching. It is likely}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid9666439\charrsid12541185 that the unprimed upper edge was also the edge of the}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid9666439\charrsid12541185 large bolt from which this canvas was cut.}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid470276\charrsid12541185 
\par 
\par }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid9666439\charrsid12541185 Scallop-shaped deformation of the canvas, related to}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid9666439\charrsid12541185 
the way it is secured at the time of priming, is another}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid9666439\charrsid12541185 indicator of the point at which a canvas is primed.}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid9666439\charrsid12541185 Cusping on all four edges of a canvas is visible only on}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \ai\af1 
\ltrch\fcs0 \i\insrsid9666439\charrsid12541185 Hillside in Provence }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid9666439\charrsid12541185 and }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid9666439\charrsid12541185 Landscape with Poplars}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid9666439\charrsid12541185 , evidence}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid9666439\charrsid12541185 that they were primed after the canvas had been attached}{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 to the stretcher. Cusping visible on only one side can}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid8606978\charrsid12541185 indicate that this edge was close to the frame used to}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
stretch large bolts of canvas that were being commercially}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 primed. }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 
\i\insrsid8606978\charrsid12541185 Avenue at Chantilly }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 is an example of this.}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid8606978\charrsid12541185 The absence of cusping can be due to the canvas being}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
cut from the centre of a large bolt, before attachment to}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 a stretcher or strainer, or to the fact that it was removed}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 from its initial stretcher or strainer and reduced in size.}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 A third possibility is a practice that C\'e9zanne\rquote s dealer}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid8606978\charrsid12541185 Vollard attributes to C\'e9zanne}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid9666439\charrsid12541185  (note }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 27}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid9666439\charrsid12541185 ).}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185  He recounts how}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 C\'e9
zanne occasionally painted a number of small studies}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 on a large canvas which he then gave to Tanguy to cut}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 up and sell to buyers who could not afford to pay very}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid8606978\charrsid12541185 much}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid9666439\charrsid12541185  (note }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 28}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid9666439\charrsid12541185 ).}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185  The non-standard-sized }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 Stove in the Studio }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 has}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 been cut down. There is no cusping and the fact that}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 the horizontal weave of the canvas is not lined up with}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
the stretcher edge is clearly visible on the X-radiograph}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 (fig. 2). It is not possible to know if this was because of}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 the practice Vollard describes, or the result of an alteration}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }
{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 in size after completion. However, it is interesting}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
to note that the signature aligns both vertically and}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 horizontally with the current stretcher bars, indicating}{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 that the painting was signed in its current dimensions.}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid470276 
\par }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid9984463\charrsid12541185 
\par }\pard\plain \ltrpar\s2\ql \li0\ri0\keep\keepn\widctlpar\wrapdefault\aspalpha\aspnum\faauto\outlinelevel1\adjustright\rin0\lin0\itap0\pararsid12541185 \rtlch\fcs1 \ab\af1\afs21\alang1025 \ltrch\fcs0 
\b\i\fs24\lang2057\langfe1033\loch\af1\hich\af1\dbch\af31501\cgrid\langnp2057\langfenp1033 {\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 \hich\af1\dbch\af31501\loch\f1 Ground}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185 
\hich\af1\dbch\af31501\loch\f1  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid470276\charrsid12541185 
\par }\pard\plain \ltrpar\ql \li0\ri0\widctlpar\wrapdefault\faauto\rin0\lin0\itap0\pararsid8606978 \rtlch\fcs1 \af1\afs21\alang1025 \ltrch\fcs0 \f1\fs24\lang2057\langfe1033\cgrid\langnp2057\langfenp1033 {\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid8606978\charrsid12541185 ÁùºÏ²ÊÔ¤²â paintings have predominantly one}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
layer of mainly lead white priming, slightly warmed up}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 with small amounts of yellow ochre. Barium sulphate,}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 quartz and chalk extenders have also been identified}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid9666439\charrsid12541185  (note }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid8606978\charrsid12541185 29}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid9666439\charrsid12541185 ).}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
Exceptions are }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 Avenue at Chantilly}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 , which has a grey}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 ground, comprising lead white and a black charcoal}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid9666439\charrsid12541185  (note }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 30}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid9666439\charrsid12541185 ),}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 and the two double grounds found in }{\rtlch\fcs1 \ai\af1 
\ltrch\fcs0 \i\insrsid8606978\charrsid12541185 An Old Woman}{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 with a Rosary }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid8606978\charrsid12541185 and }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 Bathers}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 , comprising a mostly lead}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 white layer on top of a thin chalk layer}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid9666439\charrsid12541185  (note }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid8606978\charrsid12541185 31}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid9666439\charrsid12541185 ).}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid470276\charrsid12541185 
\par 
\par }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 The binding media of the grounds for }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 Hillside in}{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid2775096\charrsid12541185  }{
\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 Provence }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 and }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 Self Portrait }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid8606978\charrsid12541185 have been identified as heat-bodied}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 or partially heat-bodied linseed oil}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid9666439\charrsid12541185  (note }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 32}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid9666439\charrsid12541185 ).}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid8606978\charrsid12541185  Although}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 the mainly lead white layer of }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 
\i\insrsid8606978\charrsid12541185 Bathers }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 is mixed with a}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
partially heat-bodied linseed oil medium, the organic}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 binder with the chalk underlayer was not analysed.}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 It is possible that this is proteinaceous as is the case}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid8606978\charrsid12541185 in the lower of two ground layers in }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 Tall Trees at the}{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid2775096\charrsid12541185  }{\rtlch\fcs1 
\ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 Jas de Bouffan }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 (}{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 c}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid8606978\charrsid12541185 .1883) (London, Courtauld Institute}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 Galleries). However, no protein was found in the chalk}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 underlayer in }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 An Old Woman with a Rosary}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid9666439\charrsid12541185  (note }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 33}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid9666439\charrsid12541185 ).}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185  C\'e9
zanne}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 does not appear therefore to be choosing absorbent or}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 semi-absorbent grounds. But the fact that he used }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 \'e9tud}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 e}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 supports, even when he could afford better, does suggest}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 a preference for matt primings. The }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 \'e9tude }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 canvases}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 often had an initial layer of chalk in glue because it}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 was cheaper and dried quicker than lead white in oil}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 grounds}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid9666439\charrsid12541185  (note }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 34}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid9666439\charrsid12541185 ).}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid8606978\charrsid12541185  The thin, lean preparation on }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 \'e9tude }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 canvases}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 is evidenced by hairline cracks visible along the lines of}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid8606978\charrsid12541185 thread. These are found on many of C\'e9zanne\rquote s grounds}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 (plate 9).}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid470276\charrsid12541185 
\par 
\par }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 There is nothing to indicate that the grounds of}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 
Hillside in Provence }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 or }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 Landscape with Poplars }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 were}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 applied by C\'e9zanne after the canvas had been stretched,}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 rather than by a manufacturer or colour merchant. The}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
only instance where it seems very likely that C\'e9zanne}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 applied the priming himself is the very thin, uneven}{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 ground visible on the right-hand edge reclaimed from}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid8606978\charrsid12541185 the tacking margin in }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 Bathers }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 (plate 10).}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid470276 
\par }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid9984463\charrsid12541185 
\par }\pard\plain \ltrpar\s2\ql \li0\ri0\keep\keepn\widctlpar\wrapdefault\aspalpha\aspnum\faauto\outlinelevel1\adjustright\rin0\lin0\itap0\pararsid12541185 \rtlch\fcs1 \ab\af1\afs21\alang1025 \ltrch\fcs0 
\b\i\fs24\lang2057\langfe1033\loch\af1\hich\af1\dbch\af31501\cgrid\langnp2057\langfenp1033 {\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 \hich\af1\dbch\af31501\loch\f1 Pigments}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid2775096\charrsid12541185 \hich\af1\dbch\af31501\loch\f1  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid470276\charrsid12541185 
\par }\pard\plain \ltrpar\ql \li0\ri0\widctlpar\wrapdefault\faauto\rin0\lin0\itap0\pararsid8606978 \rtlch\fcs1 \af1\afs21\alang1025 \ltrch\fcs0 \f1\fs24\lang2057\langfe1033\cgrid\langnp2057\langfenp1033 {\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid8606978\charrsid12541185 C\'e9zanne only mentions specific pigments in four letters}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 in 1905\endash 6}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid9666439\charrsid12541185  (note }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 35}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid9666439\charrsid12541185 ).}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
 They are cinnabar green}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid9666439\charrsid12541185  (note }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 36}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid9666439\charrsid12541185 ),}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid8606978\charrsid12541185  Prussian blue,}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 burnt lake, fine lake, cobalt and chrome paints. Eight}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 pages in C\'e9zanne\rquote s sketchbooks of the 1870s, 1880s, and}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 one in the 1890s, have lists of pigments written in them.}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid8606978\charrsid12541185 Whether they are oil or watercolours is not specified.}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
The colours mentioned are lead white, peach black,}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 Naples yellow, brilliant yellow, bright or light chrome,}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 Prussian blue, cobalt blue, ultramarine, emerald green}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid8606978\charrsid12541185 (named as }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 verte Veronese}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 ), viridian (named as }{\rtlch\fcs1 \ai\af1 
\ltrch\fcs0 \i\insrsid8606978\charrsid12541185 vert \'e9meraude}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 ),}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid8606978\charrsid12541185 green earth, vermilion, dark or deep madder lake,}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
fine lake, burnt lake, rose madder, yellow ochre, natural}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 sienna, natural umber, Saturn red (term for red lead)}{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid9666439\charrsid12541185  (note }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 37}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid9666439\charrsid12541185 ).}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }
{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid470276\charrsid12541185 
\par 
\par }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 Emile Bernard first visited C\'e9zanne in February}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
1904. On his second and final visit in March 1905}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 he described the pigments that made up C\'e9zanne\rquote s}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 palette}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid9666439\charrsid12541185  (note }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 38}
{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid9666439\charrsid12541185 ).}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid470276\charrsid12541185 
\par 
\par }\pard \ltrpar\ql \li720\ri0\widctlpar\wrapdefault\faauto\rin0\lin720\itap0\pararsid470276 {\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 Yellows: brilliant yellow, Naples yellow, chrome}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 yellow, yellow ochre, raw sienna}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid470276\charrsid12541185 
\par }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 Reds: vermilion, red earth, burnt sienna, madder}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
lake, fine carmine lake}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid9666439\charrsid12541185  (note }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 39}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid9666439\charrsid12541185 ),}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid8606978\charrsid12541185  burnt crimson lake}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid9666439\charrsid12541185  (note }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 40}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid9666439\charrsid12541185 )}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid470276\charrsid12541185 
\par }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 Greens: viridian, emerald green, green earth}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid470276\charrsid12541185 
\par }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 Blues: cobalt blue, ultramarine blue, Prussian blue,}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
peach black}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid470276\charrsid12541185 
\par }\pard \ltrpar\ql \li0\ri0\widctlpar\wrapdefault\faauto\rin0\lin0\itap0\pararsid8606978 {\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid470276\charrsid12541185 
\par }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 The pigments identified in the six ÁùºÏ²ÊÔ¤²â}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
paintings analysed (NG 6509, 4135, 6457, 4136, 6195}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 and 6359) correspond closely with those in Bernard\rquote s}{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 list}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid9666439\charrsid12541185  (note }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
41}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid9666439\charrsid12541185 ).}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid470276\charrsid12541185 
\par 
\par }\pard \ltrpar\ql \li720\ri0\widctlpar\wrapdefault\faauto\rin0\lin720\itap0\pararsid470276 {\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 Yellows: chrome yellow, yellow ochre/earth,}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 yellow lake}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid470276\charrsid12541185 
\par }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 Reds: vermilion, red earth, cochineal and}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 madder lakes}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid470276\charrsid12541185 
\par }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 Greens: viridian, emerald green, green earth}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid470276\charrsid12541185 
\par }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 Blues: cobalt blue, ultramarine, Prussian blue}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid470276\charrsid12541185 
\par }\pard \ltrpar\ql \li0\ri0\widctlpar\wrapdefault\faauto\rin0\lin0\itap0\pararsid8606978 {\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid470276\charrsid12541185 
\par }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 The only discrepancies occur with respect to the}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
yellows. No Naples yellow was identified}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid9666439\charrsid12541185  (note }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 42}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid9666439\charrsid12541185 ).}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185  There is}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 a possibility, however, that there was some confusion}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 in the nomenclature}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid9666439\charrsid12541185  (note }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid8606978\charrsid12541185 43}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid9666439\charrsid12541185 ).}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185  Brilliant yellow, which is also}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 mentioned by Bernard, was, according to the \lquote Composition}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid8606978\charrsid12541185 of Pigments\rquote  list given in a Winsor & Newton}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 catalogue of 1896, \lquote 
a variety of Naples yellow prepared}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 from Chrome Yellow and White Lead\rquote }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid9666439\charrsid12541185  (note }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 44}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid9666439\charrsid12541185 ).}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185  Naples yellow}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 is only found around 1873 in the sketchbook lists, but}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 brilliant yellow appears several times between 1875}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
and 1887. Yellow lake, not mentioned by Bernard,}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 was found in }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 
\i\insrsid8606978\charrsid12541185 Hillside in Provence}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid9666439\charrsid12541185  (note }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 45}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid9666439\charrsid12541185 ).}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185  Chrome yellow}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
was found in three of the paintings dating from 1880,}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 including }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 
\i\insrsid8606978\charrsid12541185 Bathers}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 .}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid470276\charrsid12541185 
\par 
\par }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 Lead white and carbon black were found in all the}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 paintings s
tudied, zinc white only in }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 Self Portrait}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 . Emerald}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 green, vermilion and yellow ochre were often used.}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
Red earth was less common, although present in }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 The}{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 
\i\insrsid8606978\charrsid12541185 Stove in the Studio}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 , }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 Self Portrait }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid8606978\charrsid12541185 and }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 An Old Woman with}{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 
\i\insrsid8606978\charrsid12541185 a Rosary}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 . Viridian was also frequently found. The black}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid8606978\charrsid12541185 charcoal identified in }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 The Stove in the Studio }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 is very}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 possibly the peach black that Bernard mentions}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid9666439\charrsid12541185  (note }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid8606978\charrsid12541185 46}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid9666439\charrsid12541185 ).}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid470276\charrsid12541185 
\par 
\par }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 When he became more financially secure after}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 1886 C\'e9
zanne increasingly used cobalt blue for works}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 painted outside, or depicting the outside, such as }{\rtlch\fcs1 \ai\af1 
\ltrch\fcs0 \i\insrsid8606978\charrsid12541185 Bathers}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid9666439\charrsid12541185  (note }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 47}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid9666439\charrsid12541185 
).}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185  Both cobalt and cobalt blue are listed in a page of}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
the sketchbooks dated 1875\endash 8; if these references are to}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 oil paint, this shows that he did use cobalt blue prior to}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 1886. It was identified in }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 An Old Woman with a Rosary}{
\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 and }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 Bathers}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid8606978\charrsid12541185 . Although Prussian blue was found only in}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 The Stove in the Studio}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid8606978\charrsid12541185 , C\'e9zanne ordered five tubes of it}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
in a letter to an art supply dealer in March 1905 and it}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 has been found in five of his paintings in the Courtauld}{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 Institute Galleries painted between 1875 and 1896.}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid470276\charrsid12541185 
\par 
\par }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 C\'e9zanne appears to have used a variety of red lakes,}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
as Bernard\rquote s list and the lists in the sketchbooks suggest.}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 A cochineal lake on a tin substrate was identified in}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 An Old Woman with a Rosary }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 and }{\rtlch\fcs1 \ai\af1 
\ltrch\fcs0 \i\insrsid8606978\charrsid12541185 Bathers }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 and in both}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid8606978\charrsid12541185 cases starch was also present}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid9666439\charrsid12541185  (note }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 48}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid9666439\charrsid12541185 ).}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185  Madder high in pseudopurpurin}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid8606978\charrsid12541185 with some purpurin and a little alizarin has}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 also been identified in }{\rtlch\fcs1 \ai\af1 
\ltrch\fcs0 \i\insrsid8606978\charrsid12541185 Man with Pipe}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 , 1892-5 (London,}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid8606978\charrsid12541185 Courtauld Institute Galleries)}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid9666439\charrsid12541185  (note }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 49}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid9666439\charrsid12541185 ).}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185  A trace of red lake was}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
also found in }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 Hillside in Provence}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid9666439\charrsid12541185  (note }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 50}{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid9666439\charrsid12541185 ).}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid470276 
\par }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid9984463\charrsid12541185 
\par }\pard\plain \ltrpar\s2\ql \li0\ri0\keep\keepn\widctlpar\wrapdefault\aspalpha\aspnum\faauto\outlinelevel1\adjustright\rin0\lin0\itap0\pararsid12541185 \rtlch\fcs1 \ab\af1\afs21\alang1025 \ltrch\fcs0 
\b\i\fs24\lang2057\langfe1033\loch\af1\hich\af1\dbch\af31501\cgrid\langnp2057\langfenp1033 {\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 \hich\af1\dbch\af31501\loch\f1 Paint medium}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid2775096\charrsid12541185 \hich\af1\dbch\af31501\loch\f1  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid470276\charrsid12541185 
\par }\pard\plain \ltrpar\ql \li0\ri0\widctlpar\wrapdefault\faauto\rin0\lin0\itap0\pararsid8606978 \rtlch\fcs1 \af1\afs21\alang1025 \ltrch\fcs0 \f1\fs24\lang2057\langfe1033\cgrid\langnp2057\langfenp1033 {\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid8606978\charrsid12541185 Medium analysis of the ÁùºÏ²ÊÔ¤²â C\'e9zannes}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
has shown the use of drying oils. Partially heat-bodied}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 linseed oil was identified in several samples, while}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 partially heat-bodied poppy-seed oil was also found in}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid8606978\charrsid12541185 the white highlight in }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 Bathers}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 . In the remaining samples,}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 an intermediate palmitate / stearate ratio was observed,}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid8606978\charrsid12541185 most probably due to the presence of a linseed / poppy}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 oil mix (sugge
sting, for example, that the pigment in}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 the tube was ground in one oil, while the artist added}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 the other as a diluent while working), although the use}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid8606978\charrsid12541185 of walnut oil cannot be entirely discounted.}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid470276 
\par }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid9984463\charrsid12541185 
\par }\pard\plain \ltrpar\s2\ql \li0\ri0\keep\keepn\widctlpar\wrapdefault\aspalpha\aspnum\faauto\outlinelevel1\adjustright\rin0\lin0\itap0\pararsid12541185 \rtlch\fcs1 \ab\af1\afs21\alang1025 \ltrch\fcs0 
\b\i\fs24\lang2057\langfe1033\loch\af1\hich\af1\dbch\af31501\cgrid\langnp2057\langfenp1033 {\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 \hich\af1\dbch\af31501\loch\f1 Siccative and diluent}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid2775096\charrsid12541185 \hich\af1\dbch\af31501\loch\f1  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid470276\charrsid12541185 
\par }\pard\plain \ltrpar\ql \li0\ri0\widctlpar\wrapdefault\faauto\rin0\lin0\itap0\pararsid8606978 \rtlch\fcs1 \af1\afs21\alang1025 \ltrch\fcs0 \f1\fs24\lang2057\langfe1033\cgrid\langnp2057\langfenp1033 {\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid8606978\charrsid12541185 C\'e9zanne ordered Haarlem siccative from an art supply}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
dealer in a letter of 23 March 1905. The exact recipe for}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 this siccative is not known but essentially it comprises}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 varnish (probably copal) heated and mixed with oil}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 plus a diluent (such as turpentine)}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid9666439\charrsid12541185  (note }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 51}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid9666439\charrsid12541185 ).}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185  Once mixed}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
with pigments on the palette, with possibly the further}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 addition of turpentine, it would have hardened quite}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 rapidly by evaporation of the solvent, thus appearing to}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid8606978\charrsid12541185 aid drying but not speeding up actual chemical drying}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
of oil paint. None has been identified to date either in}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 the medium analysis, or in examining the surfaces of}{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 the paintings. In practice it is not possible to identify}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 the presence of turpentine as a diluent \endash  used with or}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
without the Haarlem siccative. However, the appearance}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 of C\'e9zanne\rquote s paint, particularly in the early stages}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 of the execution of a painting, points to its use. The}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 painter and writer Maurice Denis, who visited C\'e9zanne}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
in 1906, wrote that C\'e9zanne\rquote s paintings were \lquote overlaid}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 with turpentine-thinned pentimenti\rquote }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid9666439\charrsid12541185  (note }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 52}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid9666439\charrsid12541185 ).}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid470276\charrsid12541185 
\par }\pard\plain \ltrpar\s2\ql \li0\ri0\keep\keepn\widctlpar\wrapdefault\aspalpha\aspnum\faauto\outlinelevel1\adjustright\rin0\lin0\itap0\pararsid12541185 \rtlch\fcs1 \ab\af1\afs21\alang1025 \ltrch\fcs0 
\b\i\fs24\lang2057\langfe1033\loch\af1\hich\af1\dbch\af31501\cgrid\langnp2057\langfenp1033 {\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid9984463 
\par }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 \hich\af1\dbch\af31501\loch\f1 Pain\hich\af1\dbch\af31501\loch\f1 ting tools}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185 \hich\af1\dbch\af31501\loch\f1  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid470276\charrsid12541185 
\par }\pard\plain \ltrpar\ql \li0\ri0\widctlpar\wrapdefault\faauto\rin0\lin0\itap0\pararsid8606978 \rtlch\fcs1 \af1\afs21\alang1025 \ltrch\fcs0 \f1\fs24\lang2057\langfe1033\cgrid\langnp2057\langfenp1033 {\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid8606978\charrsid12541185 There is documentary evidence that C\'e9zanne used}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
rounded sable or marten hair brushes. These were}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 commonly used by artists with diluted paint for fluid}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 outlines. On 15 October 1906 in a letter to his son}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid8606978\charrsid12541185 C\'e9zanne mentions \lquote }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 emeloncil}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 e\rquote  brushes. These are probably}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 the sable brushes called \lquote de Melloncillo, which come}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 from Russia\rquote }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid9666439\charrsid12541185  (note }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 53}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid9666439\charrsid12541185 ).}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185  In his sketchbook, around 1879\endash 82, he}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid8606978\charrsid12541185 adds two dozen \lquote }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 pinceaux putois}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 \rquote , numbers 8, 9 and 10,}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 to a list of pigments}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid9666439\charrsid12541185  (note }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid8606978\charrsid12541185 54}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid9666439\charrsid12541185 ).}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
The 1894 photograph (FIG. I), in which C\'e9zanne}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 holds four brushes, also indicates that he used flattipped}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 brushes. In other photographs of C\'e9zanne at}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid8606978\charrsid12541185 work there is a tin hanging off the easel, presumably}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
containing a diluent for cleaning the brushes. Straightedged}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 accumulations of paint in }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 
\i\insrsid8606978\charrsid12541185 The Stove in the Studio}{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 and in the background of }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 
\i\insrsid8606978\charrsid12541185 Bathers }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 suggest the localised}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid8606978\charrsid12541185 use of a palette knife. We also know that C\'e9zanne used}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
some sort of portable painting box. He wrote to an art}{\rtlch\fcs1 \ab\af1 \ltrch\fcs0 \b\insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 supply dealer on 6 July 1905 about a \lquote box that I had}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 asked you to fix for me by adding a palette with a hole}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 large enough to accommodate my thumb\rquote .}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid470276 
\par }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid9984463\charrsid12541185 
\par }\pard\plain \ltrpar\s2\ql \li0\ri0\keep\keepn\widctlpar\wrapdefault\aspalpha\aspnum\faauto\outlinelevel1\adjustright\rin0\lin0\itap0\pararsid12541185 \rtlch\fcs1 \ab\af1\afs21\alang1025 \ltrch\fcs0 
\b\i\fs24\lang2057\langfe1033\loch\af1\hich\af1\dbch\af31501\cgrid\langnp2057\langfenp1033 {\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 \hich\af1\dbch\af31501\loch\f1 Varnish}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid2775096\charrsid12541185 \hich\af1\dbch\af31501\loch\f1  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid470276\charrsid12541185 
\par }\pard\plain \ltrpar\ql \li0\ri0\widctlpar\wrapdefault\faauto\rin0\lin0\itap0\pararsid12541185 \rtlch\fcs1 \af1\afs21\alang1025 \ltrch\fcs0 \f1\fs24\lang2057\langfe1033\cgrid\langnp2057\langfenp1033 {\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid8606978\charrsid12541185 All of the ÁùºÏ²ÊÔ¤²â C\'e9zannes are varnished.}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
There is no documentary evidence concerning}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 C\'e9zanne\rquote s attitude to this traditional practice}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid9666439\charrsid12541185  (note }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 55}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid9666439\charrsid12541185 ),}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 although there is evidence that his principal dealer,}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
Vollard, routinely had pictures \lquote prepared\rquote  for sale. It is}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 likely that this involved both the varnishing}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid9666439\charrsid12541185  (note }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 56}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid9666439\charrsid12541185 )}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid8606978\charrsid12541185  and the}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 lining of paintings}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid9666439\charrsid12541185 
 (note }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 57}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid9666439\charrsid12541185 ).}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185  The right-hand strip of }{\rtlch\fcs1 \ai\af1 
\ltrch\fcs0 \i\insrsid8606978\charrsid12541185 Landscape}{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 with Poplars}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid8606978\charrsid12541185 , towards the bottom, might be an example}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
of an area being loosely filled in by a later hand because}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 it appeared \lquote unfinished\rquote  (plate 11).}{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid470276 
\par }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid9984463\charrsid12541185 
\par }\pard\plain \ltrpar\s2\ql \li0\ri0\keep\keepn\widctlpar\wrapdefault\aspalpha\aspnum\faauto\outlinelevel1\adjustright\rin0\lin0\itap0\pararsid12541185 \rtlch\fcs1 \ab\af1\afs21\alang1025 \ltrch\fcs0 
\b\i\fs24\lang2057\langfe1033\loch\af1\hich\af1\dbch\af31501\cgrid\langnp2057\langfenp1033 {\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 \hich\af1\dbch\af31501\loch\f1 Frames}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185 
\hich\af1\dbch\af31501\loch\f1  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid470276\charrsid12541185 
\par }\pard\plain \ltrpar\ql \li0\ri0\widctlpar\wrapdefault\faauto\rin0\lin0\itap0\pararsid8606978 \rtlch\fcs1 \af1\afs21\alang1025 \ltrch\fcs0 \f1\fs24\lang2057\langfe1033\cgrid\langnp2057\langfenp1033 {\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid8606978\charrsid12541185 Judging by comments made in his letters, C\'e9zanne did}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
not pay much attention to the framing of his works. On}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 21 December 1889 he wrote about one of his paintings}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 to Octave Maus who was organising a show, \lquote If you}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid8606978\charrsid12541185 should have some old frame to put on it, you would}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 ease my mind.\rquote 
 And in a letter of 2 April 1902 he hands}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 over responsibility to Vollard for both choosing and}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 framing a painting for a forthcoming show in Aix-en-}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid8606978\charrsid12541185 Provence.}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid470276 
\par }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid9984463\charrsid12541185 
\par }\pard\plain \ltrpar\s2\ql \li0\ri0\keep\keepn\widctlpar\wrapdefault\aspalpha\aspnum\faauto\outlinelevel1\adjustright\rin0\lin0\itap0\pararsid12541185 \rtlch\fcs1 \ab\af1\afs21\alang1025 \ltrch\fcs0 
\b\i\fs24\lang2057\langfe1033\loch\af1\hich\af1\dbch\af31501\cgrid\langnp2057\langfenp1033 {\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 \hich\af1\dbch\af31501\loch\f1 Summary of materials}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid2775096\charrsid12541185 \hich\af1\dbch\af31501\loch\f1  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid470276\charrsid12541185 
\par }\pard\plain \ltrpar\ql \li0\ri0\widctlpar\wrapdefault\faauto\rin0\lin0\itap0\pararsid8606978 \rtlch\fcs1 \af1\afs21\alang1025 \ltrch\fcs0 \f1\fs24\lang2057\langfe1033\cgrid\langnp2057\langfenp1033 {\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid8606978\charrsid12541185 Study of C\'e9zanne\rquote s materials has shown that from the}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
1880s onwards only subtle shifts or changes can be}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 detected. Towards the end of his life he appears to have}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 favoured larger-scale works}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid9666439\charrsid12541185  (note }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid8606978\charrsid12541185 58}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid9666439\charrsid12541185 )}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185  painted on finer woven}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 canvas with whiter grounds. The pigments he uses}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
remain remarkably constant from the 1880s until the}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 end of his life. With the exception of a notable increase}{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 in the use of cobalt blue in outdoor scenes or pictures depicting}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 the outdoors, his choices do not appear to be}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
affected by the genre \endash  landscape, still-life or imaginary}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 pieces \endash  or by whether the painting was made in the}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 studio or outside.}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid470276\charrsid12541185 
\par 
\par }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 Comparison of C\'e9zanne\rquote s materials with those of}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
his predecessors and contemporaries suggests that his}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 choices are not particularly innovative. But C\'e9zanne}{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 and his fellow artists were able to challenge the definitions}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 of painting practice set out by the academy and}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
to operate outside it. This was partly due to the development}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 of an art market newly independent of the}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 state. The way that their paintings looked proclaimed}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid8606978\charrsid12541185 their independence and their modernity. The nineteenth}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
century saw a shift among the Impressionist}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 avant-garde artists from a tonal to a prismic or \lquote spectral\rquote }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 palette. This was a rejection of the academic }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 clair/obscur}
{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 method of painting, which used a more tonal palette.}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 Painting alongside Camille Pissarro in the 1870s was of}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
fundamental significance for C\'e9zanne as it initiated his}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 adoption of the new palette, which he was to continue}{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 using for the remainder of his life. Camille\rquote s son Lucien}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 reports that C\'e9zanne copied a Pissarro around 1872 in}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
order to understand the palette}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid9666439\charrsid12541185  (note }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 59}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid9666439\charrsid12541185 ).}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid8606978\charrsid12541185  Comparison of the}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 rather dull, earthy colours of }{\rtlch\fcs1 \ai\af1 
\ltrch\fcs0 \i\insrsid8606978\charrsid12541185 The Stove in the Studio}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 , the}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid8606978\charrsid12541185 only work in this study painted before 1872, with those}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
painted after, which consist of a palette based primarily}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 on bright reds, yellows, greens and blues, mixed with}{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 white, with the addition of small quantities of earths}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid8606978\charrsid12541185 and black, provides evidence for this shift}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid9666439\charrsid12541185  (note }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 60}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid9666439\charrsid12541185 ).}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid470276\charrsid12541185 
\par 
\par }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 C\'e9zanne wrote in a letter to Bernard in September}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
1906 that theories are always easy and \lquote it is only having}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 to prove what one thinks that presents serious obstacles
\rquote }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid9666439\charrsid12541185  (note }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 61}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid9666439\charrsid12541185 ).}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid8606978\charrsid12541185  Explanations in his letters for what he is trying}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
to achieve obfuscate as well as elucidate. The secondary}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 accounts written by those who visited C\'e9zanne}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 in the last years of his life are of variable reliability}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid9666439\charrsid12541185  (note }{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 62}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid9666439\charrsid12541185 ).}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
The certitude which imbued nineteenth-century}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 century academic painting was replaced by anxiety and}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 doubt about how to make a painting in relation to the}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid8606978\charrsid12541185 observed world. C\'e9zanne was very aware that it was}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
only by means of drawing and colour that the painter}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 \lquote gives concrete expression to his sensory experiences\rquote }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid9666439\charrsid12541185  (note }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 63}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid9666439\charrsid12541185 )}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 and that the \lquote proof \rquote  is to be found in the painting itself.}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 Technical study of his works in the ÁùºÏ²ÊÔ¤²â,}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
with reference to contemporary science and physiology,}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 can help elucidate philosophies about painting}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 underpinning the work.}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid470276\charrsid12541185 
\par 
\par }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 Examination of the surfaces of the paintings does}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
show that a certain amount of planning was a consistent}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 part of C\'e9zanne\rquote s painting practice. Occasionally}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 he made drawings or watercolours which seem to}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 prepare the way for a painting, but they do not function}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
directly as preliminary studies that are synthesised in the}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 final work. For instance, while in Chantilly C\'e9zanne}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 painted several watercolours depicting tunnel-like alley}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 ways lined with trees, as well as }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 Avenue at Chantilly}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 . It}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 is possible that these were done as he searched for a}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 motif, or as a means of developing a compositional idea,}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
but they do not record exactly the same location and}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 viewpoint. There are no preparatory studies that relate}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 directly to }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 Bathers}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid8606978\charrsid12541185 , although C\'e9zanne is thought to have}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
used life drawings made while at the Atelier Suisse in}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 Paris and possibly drawings made from a model who}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 posed for him around 1888\endash 9}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid9666439\charrsid12541185  (note }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid8606978\charrsid12541185 64}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid9666439\charrsid12541185 ).}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid470276 
\par }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid9984463\charrsid12541185 
\par }\pard\plain \ltrpar\s2\ql \li0\ri0\keep\keepn\widctlpar\wrapdefault\aspalpha\aspnum\faauto\outlinelevel1\adjustright\rin0\lin0\itap0\pararsid12541185 \rtlch\fcs1 \ab\af1\afs21\alang1025 \ltrch\fcs0 
\b\i\fs24\lang2057\langfe1033\loch\af1\hich\af1\dbch\af31501\cgrid\langnp2057\langfenp1033 {\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 \hich\af1\dbch\af31501\loch\f1 Underdrawing}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid2775096\charrsid12541185 \hich\af1\dbch\af31501\loch\f1  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid470276\charrsid12541185 
\par }\pard\plain \ltrpar\ql \li0\ri0\widctlpar\wrapdefault\faauto\rin0\lin0\itap0\pararsid8606978 \rtlch\fcs1 \af1\afs21\alang1025 \ltrch\fcs0 \f1\fs24\lang2057\langfe1033\cgrid\langnp2057\langfenp1033 {\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid8606978\charrsid12541185 Underdrawing is carried out with a cont\'e9 crayon or soft}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 pencil in }{\rtlch\fcs1 \ai\af1 
\ltrch\fcs0 \i\insrsid8606978\charrsid12541185 Avenue at Chantilly }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 (plate 12; FIG. 3)}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid9666439\charrsid12541185  (note }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid8606978\charrsid12541185 65}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid9666439\charrsid12541185 ),}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185  }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 Hillside}{
\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 in Provence }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 (plate 13; FIG. 4) and }{\rtlch\fcs1 
\ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 Self Portrait }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 (plate 14).}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid8606978\charrsid12541185 It is clearly visible on the surface of }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 Avenue at Chantilly}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid8606978\charrsid12541185 (plate 15) and }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 Hillside in Provence}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 , contributing to the}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 final effect. Dry drawing was not found on any of the}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid8606978\charrsid12541185 other ÁùºÏ²ÊÔ¤²â C\'e9zannes}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid9666439\charrsid12541185  (note }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 66}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid9666439\charrsid12541185 ),}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185  which points to a}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
less than systematic use of preparatory underdrawing.}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 However, other studies}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid9666439\charrsid12541185  (note }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 67}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid9666439\charrsid12541185 )}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185  suggest that C\'e9
zanne often,}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 although not always, started his paintings \endash  whether}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 still lifes, landscapes or portraits \endash  with loose pencil or}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid8606978\charrsid12541185 cont\'e9 sketches. The amount of drawing and where it}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
occurs seems to vary, but its function \endash  an indication of}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 location of parts within a rough composition \endash  remains}
{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 consistent. C\'e9zanne painted a number of watercolours}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 at the Ch\'e2teau Noir, so the fact that there appears to}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
be no dry drawing in }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 The Grounds of the Ch\'e2teau Noir}{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid8606978\charrsid12541185 might indicate C\'e9zanne\rquote s familiarity with the motif.}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid470276\charrsid12541185 
\par 
\par }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 In }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 Hillside in Provence }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 C\'e9zanne sketched out the}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 position of the two trees on the left and the edges and}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 main internal shapes of the rocks. He did not draw}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
the horizon. A number of lines frequently indicate a}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 contour. They are mainly linear, with only a couple}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 of instances of zigzags or loops indicating masses. In}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \ai\af1 
\ltrch\fcs0 \i\insrsid8606978\charrsid12541185 Avenue at Chantilly }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 a series of repeated lines, intended}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid8606978\charrsid12541185 as rough indications of placement, sketch in the bush}{\rtlch\fcs1 \ab\af1 \ltrch\fcs0 \b\insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
like tree on the left and the main trees on the left and}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 right, the horizontal edge of the path in the middle}{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 distance, the edges of the central arch and the wide}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid8606978\charrsid12541185 path in the foreground. C\'e9zanne very loosely indicates}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
the mass of foliage with looping, curved lines. In }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 Self}{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 
\i\insrsid8606978\charrsid12541185 Portrait }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 fairly extensive drawing establishes the dome}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid8606978\charrsid12541185 of C\'e9zanne\rquote s head, the position of his eyes, ear and lip.}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 It clear
ly delineates the vertical intersection between}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 the area of patterned wallpaper and the pale blue background}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 behind the head.}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid470276\charrsid12541185 

\par 
\par }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 Discrepancies between the underdrawing and the}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
finished paintings indicate that C\'e9zanne\rquote s ideas were}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 not fixed at the drawing stage: fundamental compositional}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 ideas were developed throughout the painting}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid8606978\charrsid12541185 process. In }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 Hillside in Provence }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 the most significant}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 adjustment in position is the painted edge of the road}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid8606978\charrsid12541185 on the right (plate 13; FIG. 4). It has been raised above}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 the drawn lin
e and creates a more triangular shape in}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 the bottom right-hand corner. During the painting of}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 Avenue at Chantilly }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 C\'e9zanne lowered the base of the}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 right-hand tree in relation to the drawn base (plate 16;}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid8606978\charrsid12541185 FIG. 6) and created an almost continuous line between}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
the foreground tree on the left and the trees behind,}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 thereby emphasising the compositional idea of arching}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 shapes. In }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 Self Portrait}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid8606978\charrsid12541185 , horizontal, curving and diagonal}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 lines that bear no relationship to the finished painting}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 run through the shoulder and chest (FIG. 5). Behind the}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 head horizontal lines may indicate panelling on a wall.}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
The lozenge patterns on the wallpaper do not appear}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 in the drawing stage \endash  their compositional importance}{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 was developed in the process of painting. Arguably}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid8606978\charrsid12541185 there would have been little point for C\'e9zanne to draw}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
them in, because it is through the relationship between}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 the lozenges and the head that he constructs, }{\rtlch\fcs1 \ai\af1 
\ltrch\fcs0 \i\insrsid8606978\charrsid12541185 in paint}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 ,}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
the space between the head and the background wall.}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid470276 
\par }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid9984463\charrsid12541185 
\par }\pard\plain \ltrpar\s2\ql \li0\ri0\keep\keepn\widctlpar\wrapdefault\aspalpha\aspnum\faauto\outlinelevel1\adjustright\rin0\lin0\itap0\pararsid12541185 \rtlch\fcs1 \ab\af1\afs21\alang1025 \ltrch\fcs0 
\b\i\fs24\lang2057\langfe1033\loch\af1\hich\af1\dbch\af31501\cgrid\langnp2057\langfenp1033 {\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 \hich\af1\dbch\af31501\loch\f1 Underpainted drawing a\hich\af1\dbch\af31501\loch\f1 nd washes}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185 \hich\af1\dbch\af31501\loch\f1  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid470276\charrsid12541185 
\par }\pard\plain \ltrpar\ql \li0\ri0\widctlpar\wrapdefault\faauto\rin0\lin0\itap0\pararsid8606978 \rtlch\fcs1 \af1\afs21\alang1025 \ltrch\fcs0 \f1\fs24\lang2057\langfe1033\cgrid\langnp2057\langfenp1033 {\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid8606978\charrsid12541185 C\'e9zanne roughly establishes the composition of the}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
ÁùºÏ²ÊÔ¤²â paintings using a dilute blue or blue/}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 grey paint, whether or not they have dry drawing.}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 This \lquote painted underdrawing\rquote , applied in a very linear}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 manner, was carried out either in conjunction with,}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
or prior to, the application of dilute underwashes of}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 mainly blue or green paint. These washes provide some}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 underlying unity but do not cover the surface in a}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid8606978\charrsid12541185 uniform way. Although a distinct stage in the painting}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 process, they cannot be 
described as a layer}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid9666439\charrsid12541185  (note }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 68}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid9666439\charrsid12541185 ).}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid8606978\charrsid12541185  Both the}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 painted drawing and the washes are visible in parts of}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 the surfaces of the finished paintings, except in the case}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid8606978\charrsid12541185 of }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 An Old Woman with a Rosary }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 (plate 17). It is possible}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 that the subsequent heavy working on this painting has}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid8606978\charrsid12541185 concealed it}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid9666439\charrsid12541185  (note }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 69}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid9666439\charrsid12541185 ).}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185  Occasionally, as in }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 Avenue at Chantilly}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid8606978\charrsid12541185 ,}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 slightly more pigment-dense areas of paint, applied in}{\rtlch\fcs1 \ab\af1 \ltrch\fcs0 
\b\insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 a fairly rough loose manner, are also visible. These may}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid8606978\charrsid12541185 have been applied at the same time as the dilute washes}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
or directly after them. Generally the washes do not}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 obscure the luminosity of the ground.}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid470276\charrsid12541185 
\par 
\par }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 The leaving of reserves in the preparatory stages of}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
a painting can indicate that an artist has considered the}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 finished composition at an early stage in the painting}{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 process. C\'e9zanne establishes reserves with his initial}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 washy underlayers but, as in the case of the dry drawing,}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
these are not strictly followed in the later placement of}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 paint.}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid470276\charrsid12541185 
\par 
\par }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 These washy underlayers and slightly more}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
pigment-rich scumbles of paint, although indicative of,}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 for instance, a local foliage colour (and not therefore}{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 simply tonal), do not establish definitive colour relationships.}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 The colour in the upper paint layers is subject}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
to continual re-evaluation and adjustment, largely independently}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 of the initial lay-in. There is a dilute yellow}{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 wash in }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 Hillside in Provence}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid8606978\charrsid12541185 , but in general this lay-in}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 comprises a limited range of fairly dull colours. This}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 correlates well with the advice given to Bernard by}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 C\'e9zanne: \lquote He recommended that I begin lightly with}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
near-neutral tones. Next I should proceed up through}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 the colour scale keeping the }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid12997408\charrsid12541185 saturation as close as possible}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 \rquote }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12997408\charrsid12541185  (note }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid8606978\charrsid12541185 70}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12997408\charrsid12541185 ).}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid470276 
\par }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid9984463\charrsid12541185 
\par }\pard\plain \ltrpar\s2\ql \li0\ri0\keep\keepn\widctlpar\wrapdefault\aspalpha\aspnum\faauto\outlinelevel1\adjustright\rin0\lin0\itap0\pararsid12541185 \rtlch\fcs1 \ab\af1\afs21\alang1025 \ltrch\fcs0 
\b\i\fs24\lang2057\langfe1033\loch\af1\hich\af1\dbch\af31501\cgrid\langnp2057\langfenp1033 {\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 \hich\af1\dbch\af31501\loch\f1 Evolution of the painting}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid2775096\charrsid12541185 \hich\af1\dbch\af31501\loch\f1  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid470276\charrsid12541185 
\par }\pard\plain \ltrpar\ql \li0\ri0\widctlpar\wrapdefault\faauto\rin0\lin0\itap0\pararsid8606978 \rtlch\fcs1 \af1\afs21\alang1025 \ltrch\fcs0 \f1\fs24\lang2057\langfe1033\cgrid\langnp2057\langfenp1033 {\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid8606978\charrsid12541185 It is difficult to be certain of the precise sequence of}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 the evolution of the National Galler
y paintings after}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 the initial washes and painted underdrawing. C\'e9zanne\rquote s}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 advice to Bernard is again potentially helpful: \lquote Drawing}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid8606978\charrsid12541185 and colour are in no way separate; as one paints, one}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
draws; the more the colour harmonises, the more precise}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 the drawing becomes. The form is at its fullest when the}{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 colour is at its richest. Contrasts and rapports of colours}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 \endash  that is the secret of drawing and modelling.\rquote  It emphasises}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
the gradual building of colour relationships, but it}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 does not specify whether these relationships were local}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 or were established across the whole picture surface or}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid8606978\charrsid12541185 indeed what the point of departure might have been}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12997408\charrsid12541185  (note }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 71}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid12997408\charrsid12541185 ).}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 Bernard\rquote s earlier suggestion in a letter to his mother of}{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 1904}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12997408\charrsid12541185  (note }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
72}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12997408\charrsid12541185 )}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185  that C\'e9zanne worked, like Ingres, by \lquote progressing}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 detail by detail and finishing discrete areas before}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid8606978\charrsid12541185 bringing them together\rquote , is not borne out by close}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 examination of C\'e9zanne\rquote 
s paintings}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12997408\charrsid12541185  (note }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 73}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12997408\charrsid12541185 ).}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid8606978\charrsid12541185  As Crary writes,}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 C\'e9zanne is not \lquote putting together a mosaic of individual}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 views by the fixed eye, patching them together into a}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12997408\charrsid12541185 single, integrated surface}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 \rquote }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12997408\charrsid12541185  (note }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid8606978\charrsid12541185 74}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12997408\charrsid12541185 ).}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185  C\'e9zanne\rquote s assertion to his}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 friend Joachim Gasquet, reported in Gasquet\rquote s }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 C\'e9zanne}{\rtlch\fcs1 \ai\af1 
\ltrch\fcs0 \i\insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 (1921), that \lquote I guide my entire painting together all the}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 time. I bring together all the scattered elements with}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
the same energy and the same faith\rquote }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12997408\charrsid12541185  (note }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 75}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12997408\charrsid12541185 ),}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185  is more in keeping}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
with the idea of gradually building relationships.}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid470276\charrsid12541185 
\par 
\par }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 Paintings on which C\'e9zanne stopped working at a}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
fairly early stage in the painting process, such as }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 Still Life}{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 
\i\insrsid8606978\charrsid12541185 with Water Jug}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12997408\charrsid12541185  (note }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 76}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12997408\charrsid12541185 )}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185  (London, Tate, plate 18), also suggest an}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
approach that encompasses the whole painting surface.}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 Using more pigment-dense paint than seen in the}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 washes, C\'e9zanne appears to be establishing relationships}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid8606978\charrsid12541185 between groups of juxtaposed colours which are}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
also related to colour marks or groupings elsewhere, in}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 very disparate parts of the canvas. The point at which}{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 the juxtaposed colours resolve themselves into forms is}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid8606978\charrsid12541185 variable and not inevitable}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12997408\charrsid12541185  (note }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 77}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid12997408\charrsid12541185 ).}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185  At the outset, the barest}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
of indications might be all that was needed to establish}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 a relationship. Sometimes the bare priming might}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 serve as the colour value. It becomes possible to imagine}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid8606978\charrsid12541185 C\'e9zanne making visual then physical journeys in}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 paint, ranging ac
ross both the motif and the surface of}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 the canvas, from foreground to middle and background,}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 object and surrounding space, some short, others longer,}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid8606978\charrsid12541185 much as a spider might construct a web, conscious all}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
the time of the whole. Initially the relationships might}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 be fairly broad, but as the painting developed they}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 would become increasingly subtle}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12997408\charrsid12541185  (note }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid8606978\charrsid12541185 78}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12997408\charrsid12541185 ).}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid470276\charrsid12541185 
\par 
\par }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 The starting point for the network of relationships}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 that C\'e9
zanne constructs, or the moment at which}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 key relationships are established, is not possible to}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 determine by close looking. Bernard\rquote s description of}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid8606978\charrsid12541185 C\'e9zanne beginning a watercolour in 1904 with \lquote the}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
shadow and with a touch that he covered with a second}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 broader touch, and then a third, until all these colours,}{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 creating screens, modelled and at the same coloured}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid8606978\charrsid12541185 the object\rquote }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12997408\charrsid12541185  (note }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 79}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid12997408\charrsid12541185 )}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185  cannot be extended to C\'e9zanne\rquote s wider}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid8606978\charrsid12541185 practice. Neither can Benesch\rquote s contention that the}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
colour scheme or even the entire motif in a number of}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 C\'e9zanne\rquote s paintings \lquote is developed from the centre, the}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 elements of form and colour brought into relation to}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 each other as the painting grows outwards\rquote }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12997408\charrsid12541185  (note }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 80}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12997408\charrsid12541185 ).}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185  Although}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid8606978\charrsid12541185 it is likely that C\'e9zanne attempted to establish key}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
colour ideas at the outset and that in some instances}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 these might have been retained, it is also the case that}{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 many decisions would intervene before the painting}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid8606978\charrsid12541185 was finished, making it likely that initial relationships}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 were provisional.}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid470276\charrsid12541185 
\par 
\par }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 Cezanne\rquote s application of paint after the first partial}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
lay-in of dilute washes is local, gradually building up}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 to a complex network of colour relationships with}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 strokes or patches of paint. These might overlay previous}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid8606978\charrsid12541185 strokes and patches completely but more often only}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 partially. Bernard\rquote 
s account of the painting of }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 Three}{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 
Skulls on a Patterned Carpet }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 (now in Switzerland)}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12997408\charrsid12541185  (note }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 81}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12997408\charrsid12541185 )}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185  can}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid8606978\charrsid12541185 be misleading if it is taken to mean that C\'e9zanne\rquote s practice}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
generally involved wholesale repainting rather than}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 gradual accumulation: \lquote The colours and shapes in this}{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 painting changed almost every day, and each day when}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid8606978\charrsid12541185 I arrived in his studio, it could have been taken from the}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
easel and considered a fi}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12997408\charrsid12541185 nished work of art}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 \rquote }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12997408\charrsid12541185  (note }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 82}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12997408\charrsid12541185 ).}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185  Vollard\rquote s}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 famous account of C\'e9zanne painting his portrait not}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid8606978\charrsid12541185 only illustrates the increased difficulty in maintaining}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
numerous local and global relationships towards the end}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 of the painting process, but also shows that C\'e9zanne\rquote s}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 preference was to leave an area unpainted, rather than}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 to add a colour that he did not think would work}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12997408\charrsid12541185  (note }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 83}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12997408\charrsid12541185 ).}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid470276\charrsid12541185 
\par 
\par }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 Generally C\'e9zanne avoided applying paint thickly}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
or in broad areas, thereby reducing the likelihood that}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 density of paint would prevent further work. Any revisions}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 needed would therefore be local and not general.}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 
\ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 An Old Woman with a Rosary }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 is an exception to this. It}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 has been extensively reworked in large areas. There are}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 major altera
tions and repositionings in the old woman\rquote s}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 shoulder and hat. The paint contouring her face is thick,}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 due to the accumulation of layers, and has developed}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid8606978\charrsid12541185 pronounced wrinkling (plate 19). Where C\'e9zanne}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
makes more minor changes in pictorial organisation or}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 the shapes of things, he often chooses not to conceal}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 completely the previous idea. Some examples are the}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid8606978\charrsid12541185 post in the foreground of }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 Avenue at Chantilly }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 (plate 20),}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 the left-hand bather\rquote s head in }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 Bathers }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid8606978\charrsid12541185 (plate 21) and the}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 tops of the trees in }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 
\i\insrsid8606978\charrsid12541185 Landscape with Poplars}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 . There is also}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid8606978\charrsid12541185 no evidence in the ÁùºÏ²ÊÔ¤²â paintings for the}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
scraping away of unwanted paint. Much of the pleasure}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 from looking at a C\'e9zanne can be derived from an}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 awareness of the processes and possibly even the struggle}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12997408\charrsid12541185 \line 
involved in its making. C\'e9zanne was not concerned to}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12997408\charrsid12541185 conceal his workings. His technique lays bear the work}{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12997408\charrsid12541185 involved in creating a painting. He wrote to Gasquet}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid12997408\charrsid12541185 on 8 July 1902: \lquote I am pursuing success through labour.}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12997408\charrsid12541185 
I despise all living painters save for Monet and Renoir,}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12997408\charrsid12541185 and I will succeed through work\rquote (note 84).}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid470276\charrsid12541185 
\par 
\par }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12997408\charrsid12541185 The areas of a painting where the paint is most}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12997408\charrsid12541185 
thickly applied draw attention to where C\'e9zanne has}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12997408\charrsid12541185 struggled most. In }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 
\i\insrsid12997408\charrsid12541185 Bathers}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12997408\charrsid12541185 , }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid12997408\charrsid12541185 Self Portrait }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid12997408\charrsid12541185 and }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid12997408\charrsid12541185 The Grounds}{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 
\i\insrsid12997408\charrsid12541185 of the Ch\'e2teau Noir }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12997408\charrsid12541185 there are examples of the tendency}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid12997408\charrsid12541185 in C\'e9zanne\rquote s paintings for the thickest paint to be}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12997408\charrsid12541185 
found along contours. It is here that colour relationships,}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12997408\charrsid12541185 crucial to establishing form and space, are sought.}{\rtlch\fcs1 
\ab\af1 \ltrch\fcs0 \b\insrsid2775096\charrsid12541185   }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 Sometimes areas of paint either side of a contour do}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 not abut, but rather there is a gap of a millimetre or so}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
between them, which, depending upon the thickness of}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 the paint either side, becomes a furrow. In this gap it is}{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 often possible to see the dry drawing and initial washes}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid8606978\charrsid12541185 or painted underdrawing that lie underneath. An example}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 of this in }{\rtlch\fcs1 
\ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 Bathers }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 is the arm of the seated figure on}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid8606978\charrsid12541185 the right (plate 22). This practice has been described}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
as painting the contours of objects \lquote in reserve\rquote  and its}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 development tentatively attributed to both Pissarro}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 and C\'e9zanne in the 1870s}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12997408\charrsid12541185  (note }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid8606978\charrsid12541185 85}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12997408\charrsid12541185 ).}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185  Such a line of non-paint}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 or certainly considerably less paint is visible as a dark}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid8606978\charrsid12541185 contour to the head in the X-radiograph of }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 Self Portrait}{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid8606978\charrsid12541185 (FIG. 7). This \lquote reserve drawing\rquote  means that the way in}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
which the painting has been built up is visible on the}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 finished surface, and it also challenges a neat definition}{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 of drawing. Here drawing can be characterised as \lquote finding}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 an edge\rquote  through the application of paint, rather}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
than as fixing a contour with line.}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid470276 
\par }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid9984463\charrsid12541185 
\par }\pard\plain \ltrpar\s2\ql \li0\ri0\keep\keepn\widctlpar\wrapdefault\aspalpha\aspnum\faauto\outlinelevel1\adjustright\rin0\lin0\itap0\pararsid12541185 \rtlch\fcs1 \ab\af1\afs21\alang1025 \ltrch\fcs0 
\b\i\fs24\lang2057\langfe1033\loch\af1\hich\af1\dbch\af31501\cgrid\langnp2057\langfenp1033 {\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 \hich\af1\dbch\af31501\loch\f1 Later painted drawing lines}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid2775096\charrsid12541185 \hich\af1\dbch\af31501\loch\f1  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid470276\charrsid12541185 
\par }\pard\plain \ltrpar\ql \li0\ri0\widctlpar\wrapdefault\faauto\rin0\lin0\itap0\pararsid8606978 \rtlch\fcs1 \af1\afs21\alang1025 \ltrch\fcs0 \f1\fs24\lang2057\langfe1033\cgrid\langnp2057\langfenp1033 {\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid8606978\charrsid12541185 The initial underpainted drawing does not represent a}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 contour to which C\'e9
zanne is committed, but is instead}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 a first proposition for the edge of something, which will}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 be repeatedly adjusted as the painting process proceeds.}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid8606978\charrsid12541185 His process is not constrained by decisions made at the}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
early stages. Lines painted after the application of thicker}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 areas of paint are visible in all of the ÁùºÏ²ÊÔ¤²â}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 paintings, although they are less extensive in }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 Landscape}{
\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 with Poplars}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 . The diluted paint he uses, often blue or
}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 greyish in colour, can sometimes be hard to differentiate}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 from the underpainted lines. In }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 Bathers }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 some}{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 of these lines comprise several thin layers containing}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid8606978\charrsid12541185 cobalt blue, lead white and red lake with small additions}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 of carbon black}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12997408\charrsid12541185  (note }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 86}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12997408\charrsid12541185 ).}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid8606978\charrsid12541185  In }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 Hillside in Provence }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 blue painted}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12997408\charrsid12541185 lines lie both under and on top of the paint layer on}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid12997408\charrsid12541185 the hillside contour. In }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid12997408\charrsid12541185 The Grounds of the Ch\'e2teau Noi}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12997408\charrsid12541185 r}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12997408\charrsid12541185 multiple lines are visible in the branches and the edge}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid12997408\charrsid12541185 of the foreground rock (plate 23). There are numerous}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12997408\charrsid12541185 very freely a
pplied dark painted lines in }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid12997408\charrsid12541185 An Old Woman}{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid12997408\charrsid12541185 
with a Rosary }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12997408\charrsid12541185 (plate 24) and dilute blue lines applied on}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12997408\charrsid12541185 
top of opaque layers in }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid12997408\charrsid12541185 Bathers }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12997408\charrsid12541185 (plate 25).}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid470276 
\par }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid9984463\charrsid12541185 
\par }\pard\plain \ltrpar\s2\ql \li0\ri0\keep\keepn\widctlpar\wrapdefault\aspalpha\aspnum\faauto\outlinelevel1\adjustright\rin0\lin0\itap0\pararsid12541185 \rtlch\fcs1 \ab\af1\afs21\alang1025 \ltrch\fcs0 
\b\i\fs24\lang2057\langfe1033\loch\af1\hich\af1\dbch\af31501\cgrid\langnp2057\langfenp1033 {\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12997408\charrsid12541185 \hich\af1\dbch\af31501\loch\f1 Experimental practice}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid2775096\charrsid12541185 \hich\af1\dbch\af31501\loch\f1  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid470276\charrsid12541185 
\par }\pard\plain \ltrpar\ql \li0\ri0\widctlpar\wrapdefault\faauto\rin0\lin0\itap0\pararsid8606978 \rtlch\fcs1 \af1\afs21\alang1025 \ltrch\fcs0 \f1\fs24\lang2057\langfe1033\cgrid\langnp2057\langfenp1033 {\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid12997408\charrsid12541185 Part of C\'e9zanne\rquote s legacy, in common with the}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12997408\charrsid12541185 
Impressionists, was the realisation that an artist could}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12997408\charrsid12541185 problematise, through the practice of painting, the}{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12997408\charrsid12541185 nature of picture making and its relationship to reality.}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid12997408\charrsid12541185 The act of painting, for C\'e9zanne, becomes a site}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12997408\charrsid12541185 
of rigorous analysis. His engagement with reality, his}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12997408\charrsid12541185 open-mindedness about how a painting might look, and}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12997408\charrsid12541185 his acceptance of failure within the working process (note 87),}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid12997408\charrsid12541185 produced paintings that make explicit a state of becoming,}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12997408\charrsid12541185 
of emerging or of being formed. Perhaps the fairly}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12997408\charrsid12541185 limited and unchanging nature of his palette was one}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12997408\charrsid12541185 way of deliberately restricting variables and establishing}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid12997408\charrsid12541185 boundaries in which he could efficiently carry out}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12997408\charrsid12541185 
what he referred to in letters as his \lquote experiments\rquote  (note 88).}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid470276\charrsid12541185 
\par 
\par }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12997408\charrsid12541185 Through the practice of painting and familiarity}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12997408\charrsid12541185 
with paintings he studied in the Louvre, C\'e9zanne}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12997408\charrsid12541185 learned a profound understanding of the chromatic}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12997408\charrsid12541185 effects that can be achieved by the layering of oil}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid12997408\charrsid12541185 paint. Joachim Gasquet records C\'e9zanne\rquote s appreciation}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12997408\charrsid12541185 of Veronese
\rquote s grey underpainting (note 89). The use of a}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12997408\charrsid12541185 grey ground in }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 
\i\insrsid12997408\charrsid12541185 Avenue at Chantilly }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12997408\charrsid12541185 is an example of}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid12997408\charrsid12541185 a premeditated choice, designed to exploit colour}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12997408\charrsid12541185 
relationships between ground and upper paint layers.}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12997408\charrsid12541185 For the most part, however, C\'e9zanne\rquote s exploitation of}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12997408\charrsid12541185 the layering of oil is not premeditated. Unlike earlier}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12997408\charrsid12541185 generations of painters who applied opaque underlayers}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12997408\charrsid12541185 
knowing that the glazes they would apply in later}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12997408\charrsid12541185 layers would achieve a particular visual effect, C\'e9zanne}{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12997408\charrsid12541185 was sensitive to the possible contribution that all stages}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid12997408\charrsid12541185 of his painting process could make, whether they were}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12997408\charrsid12541185 
to be partially overlaid by later paint, or left without}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12997408\charrsid12541185 further layers. The role is not defined in advance and}{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12997408\charrsid12541185 the degree of visibility of underlayers on the surface of}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid12997408\charrsid12541185 his completed paintings is not consistent. }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid12997408\charrsid12541185 The Grounds of}{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid2775096\charrsid12541185  }{
\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid12997408\charrsid12541185 the Ch\'e2teau Noir }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12997408\charrsid12541185 provides a vivid example of the selective}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12997408\charrsid12541185 exposure of earlier patches and strokes of colour}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid12997408\charrsid12541185 (plates 26 and 27).}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid470276\charrsid12541185 
\par 
\par }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12997408\charrsid12541185 The fact that C\'e9zanne did not apply uniform covering}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12997408\charrsid12541185 
layers as he developed his paintings enabled him}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12997408\charrsid12541185 to respond directly to the visual potential offered by}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12997408\charrsid12541185 underlayers of paint, ground or drawing. The surfaces of}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid12997408\charrsid12541185 finished paintings reveal, for instance, the juxtaposition}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12997408\charrsid12541185 
of heavily painted areas with bare or scarcely painted}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12997408\charrsid12541185 areas of ground. Often the result is a complex multi-}{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12997408\charrsid12541185 layered surface, such as the orange underlayer, strokes of}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid12997408\charrsid12541185 blue paint and dilute green followed by a more opaque}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12997408\charrsid12541185 
yellow in the left-hand tree of }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid12997408\charrsid12541185 Landscape with Poplar}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12997408\charrsid12541185 s}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }
{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12997408\charrsid12541185 (plate 28). This method of painting gives C\'e9zanne}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12997408\charrsid12541185 
the possibility to recognise locally when he has \lquote done}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12997408\charrsid12541185 enough\rquote , rather than knowing in advance when that}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12997408\charrsid12541185 point would be. In }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid12997408\charrsid12541185 Hillside in Provence }{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid12997408\charrsid12541185 the moss at the}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12997408\charrsid12541185 base of the rocks is suggested in places by a green washy}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12997408\charrsid12541185 underlayer which is allowed to show through (plate 29).}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12997408\charrsid12541185 Elsewhere an upper layer of green paint represents the}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12997408\charrsid12541185 moss. C
\'e9zanne sometimes leaves patches of the ground}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12997408\charrsid12541185 bare in order for its luminosity to represent either the}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12997408\charrsid12541185 lightest lights or the point of a depicted object closest}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid12997408\charrsid12541185 to the viewer\rquote s eye. The thigh of the reclining woman}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12997408\charrsid12541185 in }{\rtlch\fcs1 
\ai\af1 \ltrch\fcs0 \i\insrsid12997408\charrsid12541185 Bathers }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12997408\charrsid12541185 is a good example of this (plate 30). These}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid12997408\charrsid12541185 areas of bare ground strongly suggest the potential for}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12997408\charrsid12541185 
the application of more paint and also make it possible.}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12997408\charrsid12541185 There is usually space available for more painting to}{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12997408\charrsid12541185 happen. His painting practice thus puts into question}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid12997408\charrsid12541185 what constitutes a finished painting.}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid470276\charrsid12541185 
\par 
\par }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 Other characteristics of C\'e9zanne\rquote s practice challenge}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid8606978\charrsid12541185 a notion of completion and it is tempting to view}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
them in terms of strategy. The late painted lines in }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 Bathers}{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid8606978\charrsid12541185 radically redraw the arm of the figure above the cat}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 and those in }{\rtlch\fcs1 \ai\af1 
\ltrch\fcs0 \i\insrsid8606978\charrsid12541185 An Old Woman with a Rosary }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 appear to}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid8606978\charrsid12541185 be searching for form at the moment when C\'e9zanne}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 chooses to stop working. The head in }{
\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 Self Portrait }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 (plate}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid8606978\charrsid12541185 31) and the left hand in }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 An Old Woman with a Rosary}{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid8606978\charrsid12541185 (plate 32) are instances where he places a bold stroke}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
of paint across a contour in a way that disrupts and}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 questions it. The fact that C\'e9zanne asked Gasquet in}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 a letter of May 1902 to lend the portrait of the old}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid8606978\charrsid12541185 woman, which he then owned, for a forthcoming show}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 in Aix-en-Provence}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12997408\charrsid12541185  (note }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 90}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12997408\charrsid12541185 )}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid8606978\charrsid12541185  supports the idea that C\'e9zanne}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
was happy for paintings to be seen in a state of questionable}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 finish.}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid470276 
\par }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid9984463\charrsid12541185 
\par }\pard\plain \ltrpar\s2\ql \li0\ri0\keep\keepn\widctlpar\wrapdefault\aspalpha\aspnum\faauto\outlinelevel1\adjustright\rin0\lin0\itap0\pararsid12541185 \rtlch\fcs1 \ab\af1\afs21\alang1025 \ltrch\fcs0 
\b\i\fs24\lang2057\langfe1033\loch\af1\hich\af1\dbch\af31501\cgrid\langnp2057\langfenp1033 {\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 \hich\af1\dbch\af31501\loch\f1 Finishing a painting}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid2775096\charrsid12541185 \hich\af1\dbch\af31501\loch\f1  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid470276\charrsid12541185 
\par }\pard\plain \ltrpar\ql \li0\ri0\widctlpar\wrapdefault\faauto\rin0\lin0\itap0\pararsid8606978 \rtlch\fcs1 \af1\afs21\alang1025 \ltrch\fcs0 \f1\fs24\lang2057\langfe1033\cgrid\langnp2057\langfenp1033 {\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid8606978\charrsid12541185 C\'e9zanne did not feel constrained to \lquote finish\rquote  his paintings.}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
He was more concerned to question the process}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 of painting than to complete a painting in an \lquote academic}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 sense\rquote }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12997408\charrsid12541185  (note }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid8606978\charrsid12541185 91}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12997408\charrsid12541185 ).}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185  His preparatory stages do not ensure that the}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 painting will progress to a definable end point, but}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid8606978\charrsid12541185 equally his \lquote experiments\rquote  were not intended to be without}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 end. An acti
ve engagement with the real, or with}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 nature, and the problems that this generated, became a}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 major preoccupation for C\'e9zanne. What was it to make}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid8606978\charrsid12541185 something \lquote real\rquote ? C\'e9zanne never relinquished his goal}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 to finish or \lquote }{
\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 realise}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 \rquote  a painting on his own terms, but}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 exactly what those terms were from painting to painting}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
is extremely difficult, if not impossible, to say.}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid470276\charrsid12541185 
\par 
\par }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 There has been much debate over whether or not}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
a given work was finished, or abandoned, or whether}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 C\'e9zanne had simply stopped working on it. In a letter}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 of April 1904 C\'e9zanne\rquote s son asked Vollard to hold on}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 to some still lifes that he had on consignment, because}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
his father was not at all sure that he wanted to part with}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 them at that time}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid12997408\charrsid12541185  (note }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 92}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12997408\charrsid12541185 ).}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
 This uncertainty, however, only}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 occasionally led to thickly layered paintings, resulting}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 from paint accumulated over months or years. Two such}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid8606978\charrsid12541185 paintings are }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 An Old Woman with a Rosary }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 and }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 
\i\insrsid8606978\charrsid12541185 Bathers}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 .}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
There is documentary and physical evidence to suggest}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 that C\'e9zanne worked on }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 
\i\insrsid8606978\charrsid12541185 Bathers }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 over a long period}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  (note }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid8606978\charrsid12541185 93}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185 ). }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 He apparently worked on }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 
\i\insrsid8606978\charrsid12541185 An Old Woman with a Rosary}{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 for eighteen months before abandoning it in the corner}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 of his studio under a leaking pipe}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  (note }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid8606978\charrsid12541185 94}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185 ).}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185  Tiny pieces of}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 dried paint, caught in the surface of both }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 Bathers }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid8606978\charrsid12541185 (see}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 plate 21) and }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 
An Old Woman with a Rosary}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 , point to an}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
extended working time. They could be the result of the}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 surface partially drying and then the skin being picked}{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 up by later paint application.}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid470276\charrsid12541185 
\par 
\par }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 Repeated reworking should not be regarded as the}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 norm in C\'e9
zanne\rquote s oeuvre nor seen as an indication of}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 a painting being closer to \lquote completion\rquote . The National}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 Gallery }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 Bathers }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid8606978\charrsid12541185 is one of three versions of the subject}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 all painted in the last years of C\'e9zanne\rquote 
s life. In contrast}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 to the London and Barnes Foundation }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 
Large Bather}{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 paintings, the paint in the Philadelphia }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 
\i\insrsid8606978\charrsid12541185 Large Bathers }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 of}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
1906 (plate 33) is applied more thinly, and more openly}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 and evenly and there is more bare ground showing.}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 T.J. Clark describes very eloquently why he believes}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid8606978\charrsid12541185 this version to be the most complete: \lquote in all senses that}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
matter this picture is the most definitive of the three.}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 Its unfinishedness is its definitiveness; and it is unfinish}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 that comes out of forty years of meditating on what a}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 conclusion in painting could be. This is a conclusion.}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
It states what the conditions of depicting the body in}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 the world now amount to, and it does so with utter}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid2775096\charrsid12541185  completeness}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 \rquote }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  (note }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid8606978\charrsid12541185 95}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185 ).  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid470276\charrsid12541185 
\par 
\par }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 The absence of a signature in a work by C\'e9zanne}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
cannot be taken as an indication that it is unfinished.}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 Some critics may come to believe that a particular}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 painting has or has not achieved a \lquote unity\rquote , \lquote harmony\rquote }{\rtlch\fcs1 \ab\af1 \ltrch\fcs0 
\b\insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 or \lquote wholeness\rquote , but these opinions remain subjective}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid8606978\charrsid12541185 interpretations, even if informed by knowledge about}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 C\'e9zanne\rquote 
s painting process and contemporary accounts}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 of what such terms meant at the end of the nineteenth}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 century. Certain characteristics in the use of colour or}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid8606978\charrsid12541185 handling of paint might, however, be suggestive of the}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
later stages in the execution of C\'e9zanne\rquote s paintings: for}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 example the extent of subtle or strong complementary,}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 near complementary or warm/cool colour juxtapositions}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 and relationships; strokes of almost pure vermilion}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
paint, often slightly subdued with a greyish overlayer,}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 and particularly strong tonal contrasts, are other examples.}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 Subtle complementaries and strong contrasts are}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 to be found in the face of }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 An Old Woman with a Rosary}{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid2775096\charrsid12541185  }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 (plate 34).}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid470276\charrsid12541185 
\par 
\par }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 Areas of paintings where the strokes of paint appear}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
more organised because the brushstrokes are more}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 differentiated or smaller can indicate an area that has}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 been given sustained attention. In }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 Avenue at Chantilly}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid8606978\charrsid12541185 ,}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 for instance, there is a marked difference in both the}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid2775096\charrsid12541185  type of brushstroke and the size of brush when the more loosely painted upper corners are compared with the central arched area. The brushstrokes in the strip at the top of }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 
\i\insrsid2775096\charrsid12541185 Bathers }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185 that C\'e9
zanne folded over the back of the stretcher during the painting process, as well as being less intensely coloured, have not been diagonally organised to the same degree as those on the main body of the painting (plat
e 35). However, it would be incorrect to presume that a completed painting was one where all or even the majority of the strokes are flat edged, diagonally orientated and organised parallel to one another irrespective of the subject being depicted. Such b
rushstrokes were described by Theodore Reff as \lquote the constructive stroke\rquote  (note 96), but it was only in the late 1870s and 1880s that C\'e9zanne employed this unifying type of stroke in anything approaching a systematic fashion. C\'e9zanne
\rquote s facture, although sometimes sequential in the ÁùºÏ²ÊÔ¤²â paintings, is not systematic (plate 36). }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid2775096\charrsid12541185 The Ch\'e2teau de Medan }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid2775096\charrsid12541185 in Glasgow (note 97) is often offered as a key example of C\'e9zanne\rquote s \lquote all over\rquote  constructive stroke, but even in this painting diagonal strokes are not used exclusively (plate 37). }{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid470276\charrsid12541185 
\par 
\par }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185 The shape of the marks in the paintings by C\'e9zanne in the ÁùºÏ²ÊÔ¤²â is very varied. In }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid2775096\charrsid12541185 Hillside in Provence}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185 , for instance, the range is broad and wavy, curving, linear, tapering and flat-edged. There is a tendency for the marks to be differentiated though not discrete. C\'e9
zanne does not abandon completely the wet-inwet mixing of brushstrokes that he used in }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid2775096\charrsid12541185 The Stove in the Studio }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185 
(plate 40). It is evident for instance in the bonnet in }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid2775096\charrsid12541185 An Old Woman with a Rosary}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185 . In }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 
\i\insrsid2775096\charrsid12541185 Avenue at}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 Chantilly }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
and }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 Landscape with Poplars }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 he creates larger}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 patches or blocks of colour with a zigzag movement}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
of the brush (plate 38). Reff states that \lquote the variability}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 of C\'e9zanne\rquote 
s touch depends on the scale and relative}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 completeness of the work as well as its subject, mood}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 and other factors not easily assimilated to a strict chronology\rquote }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  (note }{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 98}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185 ).}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185  And Rewald notes that \lquote even when pictures}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 date from the same period and treat the same subject,}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid8606978\charrsid12541185 C\'e9zanne\rquote s h}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185 andling is not always identical}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 \rquote }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid2775096\charrsid12541185  (note }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 99}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185 ). }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid470276\charrsid12541185 
\par 
\par }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 Just as there is no clearly defined layering in the}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
overall way that the ÁùºÏ²ÊÔ¤²â paintings are}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 constructed, so C\'e9zanne did not follow traditional}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 practice whereby a glaze or thin layer of transparent}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid8606978\charrsid12541185 oil colour (comprising a glazing pigment such as ultramarine,}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
red or yellow lake in a medium-rich mixture)}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 would be applied by an artist in the uppermost paint}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 layer, on top of more opaque paint, and he did not rely}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid8606978\charrsid12541185 on glazes to modify colour towards the end of a painting\rquote s}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 e
xecution. In his paintings there is no guarantee}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 that the final stroke will be the more medium-rich one.}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 Effects of transparency are created in the later painted}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid8606978\charrsid12541185 lines and occasionally, where one stroke or patch of paint}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
overlays another, modifying rather than concealing its}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 colour, such as in the path in }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 
\i\insrsid8606978\charrsid12541185 Avenue at Chantilly }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 (plate}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
41). This is an example, however, of paint mixtures}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 comprising non-traditional glazing pigments such as}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 yellow ochre, sometimes even including white, which}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid8606978\charrsid12541185 have been rendered translucent through the addition of}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
oil medium or diluent. Another example is the thinly}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 applied earth pigment in }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 
\i\insrsid8606978\charrsid12541185 Landscape with Poplars }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 (plate}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid8606978\charrsid12541185 39). Very occasionally and unsystematically C\'e9zanne}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 employs \lquote true glazes\rquote 
. There is a yellow lake in }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 Hillside}{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 in Provence
}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  (note }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 100}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185 ). }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid470276\charrsid12541185 
\par 
\par }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 An analogy between C\'e9zanne\rquote s handling of oil paint}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
and the use of translucent layers of colour in his watercolours,}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 encouraged by Vollard\rquote s description of C\'e9zanne}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 applying \lquote one layer of paint as thin as watercolour over}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  
}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 another\rquote }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  (note }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 101}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid2775096\charrsid12541185 ),}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185  should not be overplayed. In general he}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid8606978\charrsid12541185 applied paint fairly thinly and opaquely. It is likely that}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
as well as diluting his paint in the lay-in stage, and in}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 the glazes and semi-glazes and the later painted drawing,}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 C\'e9zanne added turpentine to his paint mixtures}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 more generally. However, the fact that the National}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 Gallery C\'e9
zannes are varnished precludes an assessment}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 of relative areas of matt and glossy paint, which might}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 have resulted from the selective addition of diluent or}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid8606978\charrsid12541185 medium to the paint. The way the surface of C\'e9zanne\rquote s}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
paintings look in terms of mattness and gloss cannot}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 be used in any argument about relative completion or}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 indeed C\'e9zanne\rquote s aesthetic choice.}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid470276 
\par }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid9984463\charrsid12541185 
\par }\pard\plain \ltrpar\s2\ql \li0\ri0\keep\keepn\widctlpar\wrapdefault\aspalpha\aspnum\faauto\outlinelevel1\adjustright\rin0\lin0\itap0\pararsid12541185 \rtlch\fcs1 \ab\af1\afs21\alang1025 \ltrch\fcs0 
\b\i\fs24\lang2057\langfe1033\loch\af1\hich\af1\dbch\af31501\cgrid\langnp2057\langfenp1033 {\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 \hich\af1\dbch\af31501\loch\f1 Painting parallel to nature}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid2775096\charrsid12541185 \hich\af1\dbch\af31501\loch\f1  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid470276\charrsid12541185 
\par }\pard\plain \ltrpar\ql \li0\ri0\widctlpar\wrapdefault\faauto\rin0\lin0\itap0\pararsid8606978 \rtlch\fcs1 \af1\afs21\alang1025 \ltrch\fcs0 \f1\fs24\lang2057\langfe1033\cgrid\langnp2057\langfenp1033 {\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid8606978\charrsid12541185 C\'e9zanne tells Bernard in a letter of December 1904}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 that \lquote 
an optical experience takes place in our visual}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 organ which makes us classify as highlight, half-tone}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 and quarter tone the planes represented by coloured}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid8606978\charrsid12541185 sensory experiences. Thus light itself does not exist for}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  the painter\rquote  (note 102). This suggests fa
miliarity with contemporary debates about the nature of vision. It is probable that C\'e9zanne knew the following passage in Helmholtz\rquote s book }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid2775096\charrsid12541185 Optics and Painting }{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185 (1878): \lquote What the artist must give us is not a simple copy of the object, but a translation of his impression into another scale of sensation\rquote  (note 103). According to C\'e9zanne, \lquote 
To read nature is to see it through the veil of an interpretation in terms of coloured touches that follow each other according to a law of harmony. These principal colours are thus analysed through modulations. Painting is classifying one\rquote 
s coloured }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid2775096\charrsid12541185 sensations}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185 \rquote  (note 104). This appears related to Hippolyte Taine\rquote 
s belief that the artist could work simply by representing \lquote patches of colour\rquote  (note 105). }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid470276\charrsid12541185 
\par 
\par }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185 It seems that C\'e9zanne u
nderstood that when painting he was not copying or reproducing nature, but, rather, representing, interpreting, or finding material equivalents for his sensory experiences. Although he wrote in a letter to Gasquet in September 1897 that \lquote 
Art is a harmony parallel to nature\rquote  (note 106), study of his late work indicates a realisation that intense looking  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 does not automatically resolve itself into a harmonious}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 painting with spatial unity. Indeed Jonathan Crary}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 suggests that the opposite happens and writes that for}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 C\'e9
zanne, \lquote looking at any one thing intently did not}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 lead to a fuller and more inclusive grasp of its presence,}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 its rich immediacy. Rather, it led to its perceptual}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 disintegration and loss, its breakdown as intelligible}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
form; and that breakdown was one of the conditions}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 for the invention and discovery of previously unknown}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 relati}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185 ons and organizations of forces}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid8606978\charrsid12541185 \rquote }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  (note }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 107}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185 ).}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185  It is here that}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 C\'e9zanne\rquote s innovation lies.}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid470276 
\par }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid9984463\charrsid12541185 
\par }\pard\plain \ltrpar\s2\ql \li0\ri0\keep\keepn\widctlpar\wrapdefault\aspalpha\aspnum\faauto\outlinelevel1\adjustright\rin0\lin0\itap0\pararsid12541185 \rtlch\fcs1 \ab\af1\afs21\alang1025 \ltrch\fcs0 
\b\i\fs24\lang2057\langfe1033\loch\af1\hich\af1\dbch\af31501\cgrid\langnp2057\langfenp1033 {\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 \hich\af1\dbch\af31501\loch\f1 Modulating rather than modelling}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid2775096\charrsid12541185 \hich\af1\dbch\af31501\loch\f1  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid470276\charrsid12541185 
\par }\pard\plain \ltrpar\ql \li0\ri0\widctlpar\wrapdefault\faauto\rin0\lin0\itap0\pararsid8606978 \rtlch\fcs1 \af1\afs21\alang1025 \ltrch\fcs0 \f1\fs24\lang2057\langfe1033\cgrid\langnp2057\langfenp1033 {\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid8606978\charrsid12541185 When C\'e9zanne referred to coloured patches representing}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
light he was referring to relationships of colour}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 rather than simply the pigments he used and the way}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 he mixed them. A shift towards a prismic palette from}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid8606978\charrsid12541185 a tonal one alone would not have sufficed. Traditionally}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
the look of a particular object under illumination}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 had been reproduced by applying blended tones, reliant}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 on the addition of black and white (}{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 clair/obscu}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid8606978\charrsid12541185 r). This}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 can be described as modelling. C\'e9zanne used \lquote relations\rquote }
{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 such as the simultaneous contrast of complementary}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 colours and the juxtaposition of warm and cool}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
colours to represent light and create form and space in}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 a practice that he described to Bernard as \lquote modulating\rquote }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 rather than \lquote modelling\rquote }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  (note }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid8606978\charrsid12541185 108}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185 ).}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185  Examples are the blue and}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 yellow juxtaposed in the right-hand trunk in }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 Avenue}{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 
\i\insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 at Chantilly }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 (plate 42). He does not sacrifice form or a}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 sense of solidity in favour of light effects and nor does}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid8606978\charrsid12541185 he try to reproduce shifting effects of light. He was}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
concerned with volume as he wrote: \lquote In order to make}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 progress, there is only nature, and the eye educates}{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 itself by contact with nature. It becomes concentric}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid8606978\charrsid12541185 by looking and working. What I mean is that, in an}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
orange, an apple, a ball, a head, there is a culminating}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 point; and this point is always the closest to our eye; the}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 edges of objects recede towards a centre placed on our}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  eye level
}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 \rquote }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  (note }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 109}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid2775096\charrsid12541185 ).}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185  Volume in this sense is not created using}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid8606978\charrsid12541185 perspective. \lquote Our eye level\rquote  is the observer\rquote s eye and}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
body rather than an abstract plane behind the painting.}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid470276\charrsid12541185 
\par 
\par }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 C\'e9zanne\rquote s term \lquote modulation\rquote  has been interpreted}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid8606978\charrsid12541185 as implying a way of painting that is highly systematic}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 and premeditated. Such a view of C\'e9
zanne\rquote s practice}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 has been encouraged by Bernard\rquote s account, quoted}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 above, of C\'e9zanne painting the watercolour of Mont}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid8606978\charrsid12541185 Sainte-Victoire. Bernard continues, \lquote I then understood}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
that the laws of harmony guided his work and that all}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 these modulations had a goal, determined in advance}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 in his mind. He worked, in fact, the way early tapestry}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid8606978\charrsid12541185 makers must have worked, arranging related colours}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
in a sequence until they met their contrasting colour}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  opposites}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 \rquote }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid2775096\charrsid12541185  (note }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 110}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185 ).}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
 Lawrence Gowing for instance developed a theory of C\'e9zanne\rquote s \lquote culminating point\rquote . He}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
described a system in which the sphericity of objects}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 is modulated by sequences of hues running in spectrum}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 order}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  (note }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 111}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185 ).}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185  The present study suggests that C\'e9zanne}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid8606978\charrsid12541185 did not consider a priori the layer structure of his oil}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
paintings, but that he was very aware of the possible}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 effects that could be achieved and painted in a way that}{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 allowed him to improvise. Likewise his exploitation of}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid8606978\charrsid12541185 the simultaneous contrast of complementary colours}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
and the juxtaposition of warm and cool hues, visible}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 in all the ÁùºÏ²ÊÔ¤²â paintings, demonstrates an}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 awareness of the power they can have to represent light}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid8606978\charrsid12541185 and form, but their use is never systematic.}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185\charrsid12541185 
\par 
\par }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 C\'e9zanne\rquote s mixing of colour and juxtaposition of}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
patches of colour appear to be driven by intuition}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 grounded in learned experience and familiarity with his}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 materials, rather than formula. As this study has shown}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid8606978\charrsid12541185 he worked with a fairly limited range of pigments}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
which he did not significantly change for thirty years.}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 C\'e9zanne wrote to Louis Aurenche in January 1904 that}{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 \lquote a knowledge of the means of expressing our emotion\rquote }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 is essential, although it \lquote can only be gained through long}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid8606978\charrsid12541185 experience\rquote }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  (note }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 112}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185 ).
}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185  It seems clear that through his practice}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
he strove to avoid habitual patterns of both perception}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 and execution. C\'e9zanne may have persevered in}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 \lquote expressing (himself) as logically as possible\rquote }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  (note }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 113}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185 ),}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185  but this}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 was not achieved through a schematised system.}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid12541185 
\par }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid9984463\charrsid12541185 
\par }\pard\plain \ltrpar\s2\ql \li0\ri0\keep\keepn\widctlpar\wrapdefault\aspalpha\aspnum\faauto\outlinelevel1\adjustright\rin0\lin0\itap0\pararsid12541185 \rtlch\fcs1 \ab\af1\afs21\alang1025 \ltrch\fcs0 
\b\i\fs24\lang2057\langfe1033\loch\af1\hich\af1\dbch\af31501\cgrid\langnp2057\langfenp1033 {\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 \hich\af1\dbch\af31501\loch\f1 Mixed colours}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid2775096\charrsid12541185 \hich\af1\dbch\af31501\loch\f1  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185\charrsid12541185 
\par }\pard\plain \ltrpar\ql \li0\ri0\widctlpar\wrapdefault\faauto\rin0\lin0\itap0\pararsid8606978 \rtlch\fcs1 \af1\afs21\alang1025 \ltrch\fcs0 \f1\fs24\lang2057\langfe1033\cgrid\langnp2057\langfenp1033 {\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid8606978\charrsid12541185 Following C\'e9zanne\rquote s criticism of his palette (which}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
consisted of four colours plus white) Bernard wrote: \lquote I}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 understood then that C\'e9zanne, instead of mixing many}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 colours, had a set array for his palette, every gradation of}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 colour, an}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185 d that he applied them directly}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 \rquote }{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  (note }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 114}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185 ).}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
 He went on}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 to describe the layout of C\'e9zanne\rquote s palette, noting that:}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 \lquote Such a palette has the advantage of not involving too}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid8606978\charrsid12541185 much mixing. It creates relief in the painting because}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
it allows for distinctions of light and dark, that is to say,}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 strong contrasts\rquote }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid2775096\charrsid12541185  (note }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 115}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185 ).}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
 It is unclear whether Bernard was}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 referring to the arrangement on the palette of multiple}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 colours, meaning mixtures of individual pigments made}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid8606978\charrsid12541185 at the outset of the painting process, or to individual}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
pigments straight from the tube. This account has led to}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 speculation that C\'e9zanne worked according to a predetermined}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 system in his oil paints and that he did not mix}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 colours. Contradicting this are photographic images of}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 C\'e9zanne\rquote 
s palette while he is working and the one self}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 portrait in which C\'e9zanne displays his palette}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid2775096\charrsid12541185  (note }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 116}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185 ).}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185  They}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 suggest a practice that involves the mixing of colours}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 during the painting process. This does not preclude}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
the possibility that C\'e9zanne established provisional key}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 colour relationships on his palette at the beginning}{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 of his painting sessions \endash  something that is likely but}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 almost impossible to prove.}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185\charrsid12541185 
\par 
\par }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 Individual strokes of paint examined in cross-sections}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
are generally composed of some three to five}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 pigments in a matrix of white. His strokes of colour}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 rarely comprise unmixed or pure pigments straight from}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid8606978\charrsid12541185 the tube \endash  even allowing for the fact that tube paints}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
available at the time sometimes contained mixtures of}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 pigments}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185 
 (note }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 117}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185 ).}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185  The mixed colours primarily comprise}{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 reds, blues and greens. Yellow ochre and black are}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid8606978\charrsid12541185 added to mixtures throughout his career. For instance,}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 in }{\rtlch\fcs1 \ai\af1 
\ltrch\fcs0 \i\insrsid8606978\charrsid12541185 Self Portrait }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 the background mixtures contain white,}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid8606978\charrsid12541185 a green, blue, red and sometimes a yellow (plate 43).}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
The colour harmonies that he achieves are the result}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 of the subtle variation in the proportions of pigments}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 in each mix. There are instances, such as in }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 Self Portrait}{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 ,}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 of brushstrokes in which the individual pigments in a}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 mixture have not been fully integrated before application,}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid8606978\charrsid12541185 suggesting mixing that is spontaneous and done in}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
response to something seen (plate 44).}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185 
\par }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid9984463\charrsid12541185 
\par }\pard\plain \ltrpar\s2\ql \li0\ri0\keep\keepn\widctlpar\wrapdefault\aspalpha\aspnum\faauto\outlinelevel1\adjustright\rin0\lin0\itap0\pararsid12541185 \rtlch\fcs1 \ab\af1\afs21\alang1025 \ltrch\fcs0 
\b\i\fs24\lang2057\langfe1033\loch\af1\hich\af1\dbch\af31501\cgrid\langnp2057\langfenp1033 {\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 \hich\af1\dbch\af31501\loch\f1 Drawing with colour}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid2775096\charrsid12541185 \hich\af1\dbch\af31501\loch\f1  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185\charrsid12541185 
\par }\pard\plain \ltrpar\ql \li0\ri0\widctlpar\wrapdefault\faauto\rin0\lin0\itap0\pararsid8606978 \rtlch\fcs1 \af1\afs21\alang1025 \ltrch\fcs0 \f1\fs24\lang2057\langfe1033\cgrid\langnp2057\langfenp1033 {\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid8606978\charrsid12541185 The organisation of colour and line is a fundamental}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 part of an artist\rquote s \lquote 
means of expression\rquote . C\'e9zanne\rquote s}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 theory of modulating with colour, as it is presented}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 in certain of the \lquote opinions\rquote  that Bernard attributes to}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 C\'e9zanne, appears to exclude the use of line in creating}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 form: 
\lquote There is no line; there is no modelling; there are}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 only contrasts. It is not black and white that create these}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 contrasts, but the coloured }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 sensation}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid8606978\charrsid12541185 \rquote }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  (note }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 118}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185 
)}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185  and \lquote Drawing}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
and colour are not distinct from one another\rquote }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  (note }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 119}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185 
). }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 However, his use of coloured painted lines both before}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
modulating with strokes or patches of colour and}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 afterwards, and his \lquote reserve drawing\rquote , have the effect of}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 blurring distinctions visually, functionally and in terms}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185   }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 of hierarchy between colour and line. C\'e9zanne\rquote s often}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
rhythmic use of line, visible on the finished surface and}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 frequently applied late in the painting process, is hard}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 to understand if one believes that he aimed to eliminate}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 line}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  (note }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 120}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid2775096\charrsid12541185 ). }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185 
\par }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid9984463\charrsid12541185 
\par }\pard\plain \ltrpar\s2\ql \li0\ri0\keep\keepn\widctlpar\wrapdefault\aspalpha\aspnum\faauto\outlinelevel1\adjustright\rin0\lin0\itap0\pararsid12541185 \rtlch\fcs1 \ab\af1\afs21\alang1025 \ltrch\fcs0 
\b\i\fs24\lang2057\langfe1033\loch\af1\hich\af1\dbch\af31501\cgrid\langnp2057\langfenp1033 {\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 \hich\af1\dbch\af31501\loch\f1 Non-descriptive mark-making and colour}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid2775096\charrsid12541185 \hich\af1\dbch\af31501\loch\f1  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185\charrsid12541185 
\par }\pard\plain \ltrpar\ql \li0\ri0\widctlpar\wrapdefault\faauto\rin0\lin0\itap0\pararsid8606978 \rtlch\fcs1 \af1\afs21\alang1025 \ltrch\fcs0 \f1\fs24\lang2057\langfe1033\cgrid\langnp2057\langfenp1033 {\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid8606978\charrsid12541185 In making a painting that is \lquote parallel to nature\rquote , C\'e9zanne}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 constructs col
our relationships with strokes or patches}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 of colour. Both the colour and shape of these marks}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 diverge radically from an idea of \lquote reproducing\rquote  or \lquote copying\rquote }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 nature. C\'e9zanne\rquote s selective use of the simplified and}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
standardised painted mark or \lquote constructive stroke\rquote , or}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 his later development of larger patches of colour, such}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 as those seen in the bottom left-hand corner of }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 The}{
\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 Grounds of the Ch\'e2teau Noir }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
(plate 46), run counter to}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 an idea of there being a direct link between an area of}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 paint and separate elements within the subject represented.}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid8606978\charrsid12541185 However, in the earlier }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 Self Portrait }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 C\'e9zanne}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 incorporates descriptive handling in the hair and beard}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid8606978\charrsid12541185 with strokes of paint that resemble strands of hair and}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
more constructive (although form following) strokes in}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 the forehead. His use of colour extends beyond anything}{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 that might be considered \lquote local colour\rquote , or colour that}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 identifies a specific object. He is not \lquote unduly subservient}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid8606978\charrsid12541185 to nature\rquote }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  (note }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 121}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185 ),}
{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185  but, and this is more important, he is}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 also not willing 
(as later generations of artists would}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 be) to sever the connection between a painting and}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 observed nature, so that coloured marks relate only to}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid8606978\charrsid12541185 each other and the edges of the canvas.}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185\charrsid12541185 
\par }\pard\plain \ltrpar\s2\ql \li0\ri0\keep\keepn\widctlpar\wrapdefault\aspalpha\aspnum\faauto\outlinelevel1\adjustright\rin0\lin0\itap0\pararsid12541185 \rtlch\fcs1 \ab\af1\afs21\alang1025 \ltrch\fcs0 
\b\i\fs24\lang2057\langfe1033\loch\af1\hich\af1\dbch\af31501\cgrid\langnp2057\langfenp1033 {\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid9984463 
\par }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 \hich\af1\dbch\af31501\loch\f1 Formal design, \hich\f1 \lquote \loch\f1 distortion\hich\f1 \rquote \loch\f1  and the directly}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185 
\hich\af1\dbch\af31501\loch\f1  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 \hich\af1\dbch\af31501\loch\f1 observed}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185 \hich\af1\dbch\af31501\loch\f1  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid12541185\charrsid12541185 
\par }\pard\plain \ltrpar\ql \li0\ri0\widctlpar\wrapdefault\faauto\rin0\lin0\itap0\pararsid8606978 \rtlch\fcs1 \af1\afs21\alang1025 \ltrch\fcs0 \f1\fs24\lang2057\langfe1033\cgrid\langnp2057\langfenp1033 {\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid8606978\charrsid12541185 C\'e9zanne\rquote s incorporation of formal design \endash  or sometimes}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
even classical composition and the directly}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 observed (plate 45) \endash  can be seen in infrared reflectograms}{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 of his paintings in the ÁùºÏ²ÊÔ¤²â. The}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid8606978\charrsid12541185 changes between the underdrawing and the paint layers}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 in }{\rtlch\fcs1 \ai\af1 
\ltrch\fcs0 \i\insrsid8606978\charrsid12541185 Self Portrait}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 , }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 Avenue at Chantilly }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid8606978\charrsid12541185 and }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 Hillside in Provence}{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid8606978\charrsid12541185 point to invention in the service of composition and}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
idea rather than simply a perceptual adjustment. The}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 patches of bright vermilion, seen frequently in the}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 upper layers of C\'e9zanne\rquote s paintings, attest to the work}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 of picture making where the internal organisation of a}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
painting, or the pursuit of pictorial harmony, dictates}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 the placement of colour. In }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 
\i\insrsid8606978\charrsid12541185 The Grounds of the Ch\'e2teau}{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 Noir }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid8606978\charrsid12541185 the red patch of paint in the lower centre has been}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
allowed to remain visible as more paint has been added}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 around it (plate 47). The composition is arranged}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 around this spot}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  (note }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid8606978\charrsid12541185 122}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185 ).}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185  The diagonal green-painted line in}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 the bottom right-hand corner of }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 The Grounds of the}{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 
\i\insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 Ch\'e2teau Noir }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 (plate 48) functions as a pictorial device}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 emphasising the diagonal movement into the painting.}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185   }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid8606978\charrsid12541185 It is not a coloured mark relating directly to something}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 observed. }{\rtlch\fcs1 
\ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 An Old Woman with a Rosary }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 is composed of}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid8606978\charrsid12541185 a \lquote network of intersecting diagonals\rquote }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  (note }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 123}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid2775096\charrsid12541185 ). }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185\charrsid12541185 
\par 
\par }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 The debate about \lquote distortion\rquote  or awkwardness in}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 C
\'e9zanne\rquote s paintings has generated much controversy.}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 Some have argued that the distortions are the result}{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 of the artist trying to faithfully portray the world as it}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 appeared to him \endash  responding immediately and innocently}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 to his }{
\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 sensation }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 \endash  without recourse to traditional}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 solutions for pictorial organisation, such as linear or}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
aerial perspective. However, formalist interpretations,}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 that include seeing C\'e9zanne\rquote s paintings in terms of}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 abstract geometric shapes, suggest that the distortions}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 occur in the service of picture making and are the}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
result of pictorial sensibility or the designing of a painting}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 within the rectilinear canvas. Roger Fry, who was}{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 the first to write about C\'e9zanne in this way, describes}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 a painting of bathers and writes: \lquote At any moment the}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
demand of the total construction for some vehement}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 assertion of a rectilinear direction may do violence to}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid2775096\charrsid12541185  anatomy}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 \rquote }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  (note }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid8606978\charrsid12541185 124}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185 ).}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185  Paul Smith points out the dangers of overinterpreting}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 C\'e9zanne\rquote s much-quoted advice to Bernard}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid8606978\charrsid12541185 to \lquote treat nature in terms of the cylinder, the sphere and}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
the cone, everything placed in perspective, so that each}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 side of an object, of a plane, leads to a central point\rquote }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  (note }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 125}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185 ), }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid8606978\charrsid12541185 arguing that this was an instruction to a painter whose}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
work he considered incompetent and flat}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  (note }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 126}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185 ).}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185  Robert}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 Ratcliffe argues that as well as intentional \lquote 
distortion\rquote }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 in figures}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  (note }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid8606978\charrsid12541185 127}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185 ),}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185  C\'e9zanne\rquote s concentration on and repeated}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 reworking of relationships of colour and form lead to}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid8606978\charrsid12541185 unintentional distortion, such as a tendency for vertical}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
lines to lean to the left}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  (note }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 128}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185 ). }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid12541185\charrsid12541185 
\par 
\par }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 By all accounts C\'e9zanne rigorously observed nature.}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
A letter to his son of September 1906 attests to an acute}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 awareness, developed through intense looking, of the}{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 complexity and richness of visual perception: \lquote Here,}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 on the river bank, there are so many motifs, the same}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
object seen from another angle offers a subject of the}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 most compelling interest, and so varied that I believe I}{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 could work away for months without changing position}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid8606978\charrsid12541185 but just by leaning a little to the right and then a}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 little to the left\rquote }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  (note }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 129}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185 ).}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid8606978\charrsid12541185  C\'e9zanne\rquote s work engages with the}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 problems arising from moving his eye from one fixed
}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 position to another. Not only would there be an oscillation}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 between focus and out of focus, but the object}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
of his attention would also alter chromatically and the}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 spatial relations between subsequent points of focus}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 would be in continual flux. C\'e9zanne\rquote s paintings make}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 manifest this complexity in a way that was startlingly}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 novel at the end of 
the nineteenth century. Crary writes}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 of C\'e9zanne\rquote s \lquote particular sensitivity to and observation of}{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 perceptual experiences that had been ignored, marginalized,}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 or been incompatible (and hence unarticulated)}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185   }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
within older (classical) organizations of knowledge}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 about vision\rquote . He argues that C\'e9zanne makes the}{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 creative discovery in the 1990s that \lquote perception can take}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 no other form than the process of its formation\rquote }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  (note }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 130
}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185 ). }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185\charrsid12541185 
\par 
\par }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 Gowing writes that when painting in the grounds}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
of the Jas de Bouffan C\'e9zanne often \lquote modulated the}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 farmhouse wall as roundly as the tree trunks\rquote }{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  (note }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 131}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185 ).}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
 This}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 is offered as an example of C\'e9zanne\rquote s awareness that}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 the line of vision from the eye meets a flat surface at}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid8606978\charrsid12541185 every point at a different angle and therefore results}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
in it appearing cylindrical. Merleau-Ponty argues that}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 C\'e9zanne used modulated colours and indicated several}{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 outlines because, \lquote rebounding among these, one\rquote s}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 glance captures a shape that emerges from among them}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
all, just as it does in perception\rquote }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  (note }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 132}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185 ).}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185  It seems logical to}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
suggest that the repeated redrawing and modulations}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 seen in C\'e9zanne\rquote s oeuvre are at least in part the result}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 of the visual journeys he makes and then attempts to}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 represent in paint. Discrepancies can occur where these}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
pathways intersect and are partly dependent upon the}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 starting point and direction of each journey. }{\rtlch\fcs1 \ai\af1 
\ltrch\fcs0 \i\insrsid8606978\charrsid12541185 Avenue at}{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 Chantilly}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid8606978\charrsid12541185 , with its loosely painted corners and highly}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
organised centre, could be regarded as an engagement}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 by C\'e9zanne with peripheral vision \endash  another of the}{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 previously marginalised perceptual experiences. But}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid8606978\charrsid12541185 the painting could also exemplify, as already discussed, a}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
carefully composed image.}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185\charrsid12541185 
\par 
\par }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 C\'e9zanne\rquote s ÁùºÏ²ÊÔ¤²â }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 Bathers }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 is a studio}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 composition and the repeated painted contour lines}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 cannot be attributed to direct perceptual experience,}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
but can be linked to a notion of reality that is}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 emergent rather than fixed. The }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 
\i\insrsid8606978\charrsid12541185 Bathers }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 series may be}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
considered a condensation of a lifetime spent looking}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 both at nature and the art of the past, whether or not}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 one accepts the proposition that C\'e9zanne worked on}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid8606978\charrsid12541185 these studio paintings outside, sliding them through}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
the specially constructed narrow slot in his studio wall}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 at Les Lauves}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid2775096\charrsid12541185  (note }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 133}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185 ).}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
 Famously, when trying to finish his}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 portrait of Vollard, made from one hundred and fifteen}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 sessions of direct observation, he says that he may be}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid8606978\charrsid12541185 able to do so \lquote if the copy I am making at the Louvre}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 turns out well\rquote }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  (note }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 134}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185 ). }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185 

\par }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid9984463\charrsid12541185 
\par }\pard\plain \ltrpar\s2\ql \li0\ri0\keep\keepn\widctlpar\wrapdefault\aspalpha\aspnum\faauto\outlinelevel1\adjustright\rin0\lin0\itap0\pararsid12541185 \rtlch\fcs1 \ab\af1\afs21\alang1025 \ltrch\fcs0 
\b\i\fs24\lang2057\langfe1033\loch\af1\hich\af1\dbch\af31501\cgrid\langnp2057\langfenp1033 {\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 \hich\af1\dbch\af31501\loch\f1 Conclusion}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid2775096\charrsid12541185 \hich\af1\dbch\af31501\loch\f1  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185\charrsid12541185 
\par }\pard\plain \ltrpar\ql \li0\ri0\widctlpar\wrapdefault\faauto\rin0\lin0\itap0\pararsid8606978 \rtlch\fcs1 \af1\afs21\alang1025 \ltrch\fcs0 \f1\fs24\lang2057\langfe1033\cgrid\langnp2057\langfenp1033 {\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid8606978\charrsid12541185 C\'e9zanne\rquote s ÁùºÏ²ÊÔ¤²â paintings attest to his}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
sustained engagement with the question of what it is}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 to \lquote represent\rquote  or to \lquote make an equivalent of a world
\rquote  at}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 a particular historical moment}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  (note }{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 135}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185 ),}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185  and the refinement}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 of an experimental painting practice, which balances a}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid8606978\charrsid12541185 control of means with a state of open-ended possibility}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 and uncertainty. C\'e9zanne\rquote 
s combination of rigorous}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 observation and enquiry into the relationship of a}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 painting to the visible world underlies his innovative}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid8606978\charrsid12541185 and experimental approach to the construction and}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 execution of a painting
. The way his paintings look at}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 the point when he stops working on them, destabilises}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 what previously had constituted an \lquote image\rquote }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  (note }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid8606978\charrsid12541185 136}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185 ).}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185  The}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 surfaces of C\'e9zanne\rquote s paintings reveal much about his}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
method, but more importantly they enable an engagement}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 with the intellectual content of his practice and}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 the struggle that this generated.}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid12541185 
\par }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid9984463\charrsid12541185 
\par }\pard\plain \ltrpar\s2\ql \li0\ri0\keep\keepn\widctlpar\wrapdefault\aspalpha\aspnum\faauto\outlinelevel1\adjustright\rin0\lin0\itap0\pararsid12541185 \rtlch\fcs1 \ab\af1\afs21\alang1025 \ltrch\fcs0 
\b\i\fs24\lang2057\langfe1033\loch\af1\hich\af1\dbch\af31501\cgrid\langnp2057\langfenp1033 {\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 \hich\af1\dbch\af31501\loch\f1 Acknowledgements}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid2775096\charrsid12541185 \hich\af1\dbch\af31501\loch\f1  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185 
\par }\pard\plain \ltrpar\ql \li0\ri0\widctlpar\wrapdefault\faauto\rin0\lin0\itap0\pararsid8606978 \rtlch\fcs1 \af1\afs21\alang1025 \ltrch\fcs0 \f1\fs24\lang2057\langfe1033\cgrid\langnp2057\langfenp1033 {\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid8606978\charrsid12541185 My thanks to the Caroline Villers Fellowship which}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
made this research possible, to the ÁùºÏ²ÊÔ¤²â}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 Scientific Department (Ashok Roy, David Peggie, Jo}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 Kirby, Rachel Grout) and to Rachel Billinge for their}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid8606978\charrsid12541185 help in gathering much of the technical data in this article}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
and for allowing me to use it, and to Anne Robbins}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 (assistant curator of French nineteenth-century painting}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 at the ÁùºÏ²ÊÔ¤²â) for sharing her knowledge}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid8606978\charrsid12541185 of C\'e9zanne and the stimulating discussions we had in}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
front of the paintings. Thanks are also due to Professor}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 Richard Verdi for his comments on the manuscript}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185\charrsid12541185 
\par 
\par }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 Elisabeth Reissner was the first Caroline Villers}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
Research Fellow at the Courtauld Institute of Art,}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 from 2006 to 2007. She is currently a visiting lecturer}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 for the MA course }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 \lquote }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid8606978\charrsid12541185 Curating the Art Museum\rquote  and a}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 participant in the \lquote Writing Art History\rquote 
 research forum}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 seminar group, both at the Courtauld Institute of Art.}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 She works as a freelance paintings conservator and is a}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid8606978\charrsid12541185 practising artist.}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2775096\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185 
\par }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid9984463\charrsid12541185 
\par }\pard\plain \ltrpar\s2\ql \li0\ri0\keep\keepn\widctlpar\wrapdefault\aspalpha\aspnum\faauto\outlinelevel1\adjustright\rin0\lin0\itap0\pararsid12541185 \rtlch\fcs1 \ab\af1\afs21\alang1025 \ltrch\fcs0 
\b\i\fs24\lang2057\langfe1033\loch\af1\hich\af1\dbch\af31501\cgrid\langnp2057\langfenp1033 {\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 \hich\af1\dbch\af31501\loch\f1 Notes
\par }\pard\plain \ltrpar\ql \li0\ri0\widctlpar\wrapdefault\faauto\rin0\lin0\itap0\pararsid8606978 \rtlch\fcs1 \af1\afs21\alang1025 \ltrch\fcs0 \f1\fs24\lang2057\langfe1033\cgrid\langnp2057\langfenp1033 {\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid8606978\charrsid12541185 1 John Rewald, ed., }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 Paul C\'e9zanne Letters Revised and Augmented Edition}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 , New}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 York 1984, pp. 297 \endash 8. The translation used here is by John House and is}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid12541185\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 published in }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 The Courtauld C\'e9zannes}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid8606978\charrsid12541185 , The Courtauld Institute Galleries,}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 London 2008.
\par 2 See for instance: Michael Doran, ed., }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 Conversations with C\'e9zanne}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 , Berkeley,}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid12541185\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 California, 2001; Ambroise Vollard (trans. by Harold L. Van Doren), }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 Paul}{\rtlch\fcs1 
\ai\af1 \ltrch\fcs0 \i\insrsid12541185\charrsid12541185  }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 C\'e9zanne: His Life and Art}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 , London (Brentanos
) 1924. (First published in Paris}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 in 1914.)
\par 3 Reference will be made to Marigene H. Butler\rquote s technical study of ten}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 paintings by C\'e9
zanne in the Philadelphia Museum of Art, \lquote An Investigation}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 of the Materials and Technique Used by Paul C\'e9zanne
\rquote , AIC Preprints, The}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 American Institute for Conservation 12th Annual Meeting, Los Angeles}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid12541185\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 1984, and a concurrent study of the Courtauld C\'e9zannes to be published}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185\charrsid12541185  }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 in }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 The Courtauld C\'e9zannes}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
, The Courtauld Institute Galleries, 2008. }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 The}{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid12541185\charrsid12541185  }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 
Grounds of the Ch\'e2teau Noir }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 (NG 6342) has been on loan to Tate Modern}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid8606978\charrsid12541185 since 1997.
\par 4 For a description of colour-makers and colour merchants in the nineteenth}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
century see D. Bomford, J. Kirby, J. Leighton and A. Roy, }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 Art in the Making:}{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid12541185\charrsid12541185  }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 
\i\insrsid8606978\charrsid12541185 Impressionism}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 , New Haven and London 1990, pp. 34-7.
\par 5 Noted by the Danish painter Johan Rhode on a visit to his shop, quoted in}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 John Rewald, }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 
\i\insrsid8606978\charrsid12541185 The History of Impressionism}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 , London 1973, p. 557.
\par 6 Bomford }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 et al. }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 1990 (cited in note 4), p. 41.
\par 7 Ella Hendriks and Louis van Tilborgh, }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 New Views on van Gogh\rquote s Development}{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid12541185\charrsid12541185  }{\rtlch\fcs1 \ai\af1 
\ltrch\fcs0 \i\insrsid8606978\charrsid12541185 in Antwerp and Paris }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 (text in English and Dutch), University of Amsterdam}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185\charrsid12541185  }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 2006, p. 104.
\par 8 Rewald 1984 (cited in note 1), pp. 61 and 221.
\par 9 Both in the Courtauld Institute Galleries, London.
\par 10 See the discussion of the Chabod stamp on the Seurat in Jo Kirby, Kate}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
Stoner, Ashok Roy, Aviva Burnstock, Rachel Grout and Raymond White,}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 \lquote Seurat\rquote 
s Painting Practice: Theory, Development and Technology\rquote , }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 National}{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid12541185\charrsid12541185  }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 
\i\insrsid8606978\charrsid12541185 Gallery Technical Bulletin}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 , 24, 2003, p. 27, note 60.
\par 11 Elisabeth Ravauld, \lquote The Use of X-Radiography to Study Paintings by}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 C\'e9zanne and Van Gogh in the Gachet Collection
\rquote , in }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 Cezanne to Van Gogh}{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid12541185\charrsid12541185  }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 
The Collection of Doctor Gachet}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 , New York 1999, pp. 65\endash 70.
\par 12 Adrien Chapuis, }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 The Drawings of Paul C\'e9zanne}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 . }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 
A Catalogue Raisonn\'e9}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 ,}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 London 1973, cat. entry 963.
\par 13 A transcription of this letter was sent to Clotilde Roth-Meyer from Claude}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
Yvel and Clotilde kindly passed it on to me. Clotilde Roth-Meyer also}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 informed me that Chabod still had a shop in 1914.}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185\charrsid12541185 
\par }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 14 Rewald 1984 (cited in note 1), pp. 119, 219, 238, 309, 310, 326, 329. The}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid8606978\charrsid12541185 \lquote art supply dealers\rquote  are not named in the letters \endash  as they appear in Rewald\rquote s}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid8606978\charrsid12541185 publication.
\par 15 Dominique Sennelier of Sennelier Beaux-Arts Distribution has seen}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 invoices for oil paints sold to C\'e9
zanne by his grandfather Gustave Sennelier,}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 who became a colour merchant in 1887, according to a private communication}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 with Faith Zieske published in Faith Zieske, }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 Paul C\'e9
zanne\rquote s Watercolours:}{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid12541185\charrsid12541185  }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 His Choice of Pigments and Papers}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid8606978\charrsid12541185 , Broad Spectrum, London 2002, p. 91. In}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 the letter mentioned in note 13 C\'e9
zanne also asks the art supply dealer for}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 viridian and cobalt blue from Bourgeois. At this time Lefranc and Bourgeois}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 were not associated. For more information on Sennelier see Clotilde}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid12541185\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 Roth-Meyer\rquote s unpublished PhD, \lquote Les Marchands de Couleurs \'e0 Paris au}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185\charrsid12541185  }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 XIX si\'e8cle\rquote , Paris IV-Sorbonne 2004.
\par 16 For an outline of standard canvas sizes see Bomford }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 et al}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 . 1990 (cited in note}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid12541185\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 4), pp. 44\endash 6.
\par 17 Walter Feilchenfeld in John Rewald, with Walter Feilchenfeldt and Jayne}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 Warman, }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 
\i\insrsid8606978\charrsid12541185 The Paintings of Paul C\'e9zanne: A Catalogue Raisonn\'e9}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 , 2 vols, New}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185\charrsid12541185  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid8606978\charrsid12541185 York 1996, p. 16.
\par 18 Robert Jenson, \lquote Vollard and C\'e9zanne: An Anatomy of a Relationship\rquote , in}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185\charrsid12541185  }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 C\'e9
zanne to Picasso, Ambroise Vollard, Patron of the Avant-Garde}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 , ed. Rebecca A.}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid8606978\charrsid12541185 Rabinow, New Haven and London 2006, p. 44. Jenson writes that between}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
1870 and 1884 less than eight per cent of C\'e9zanne\rquote s production are figure}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
25, while between 1885 and the end of his life almost 45 per cent were this}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 size or larger.
\par 19 A full discussion of the ways in which C\'e9zanne alters the size of }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 Bathers }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 is}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid12541185\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 not possible in this article. During the painting\rquote s execution a 120 mm wide}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185\charrsid12541185  }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 strip of canvas was added to the bottom edge and the height of the canvas}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid8606978\charrsid12541185 was also reduced by 95 mm by folding the top over the back of the stretcher.}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 C\'e9
zanne also extended the width by reclaiming approximately 50 mm from}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
what must have been a rather copious tacking margin on the right-hand}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 edge. The painting\rquote 
s dimensions appear to have been further altered in at}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 least two restretchings.
\par 20 Philip Conisbee, \lquote The Atelier des Lauves\rquote , in }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 C\'e9zanne in Provence}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 , New}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid12541185\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 Haven and London 2006, p. 233.
\par 21 Photograph by Emile Bernard, Mus\'e9e d\rquote Orsay, Paris, Vollard Archives.
\par 22 For example }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 Still Life with Cupid}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 , 1894, Courtauld Institute Galleries,}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid12541185\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 London.
\par 23 Bernard\rquote s published account of his visits to C\'e9zanne appeared in \lquote Souvenirs\rquote }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 in }{\rtlch\fcs1 
\ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 Mercure de France }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 on 1 and 16 October 1907. Reproduced in Doran ed.}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185\charrsid12541185  }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 2001 (cited in note 2), pp. 59 and 76.
\par 24 Anthea Callen, }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 The Art of Impressionism}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 , New Haven and London 2000, p. 34}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid12541185\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 and p. 31. The translation for }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 \'e9tude }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid8606978\charrsid12541185 would be \lquote study\rquote .
\par 25 Late paintings such as }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 La Route Tournante}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 , }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 c}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 .1905 (London, Courtauld}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 Institute Galleries), or }{\rtlch\fcs1 
\ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 The Gardener Vallier}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 , 1905\endash 6 (London, Tate), are also}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185\charrsid12541185  }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 painted on much more finely woven canvas, that lacks strong texture.
\par 26 For a description of the commercial preparation of canvas, see Ella Hendriks}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 and Muriel Geldof, \lquote Van Gogh\rquote 
s Antwerp and Paris picture supports (1885\endash }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 1888)\rquote , }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 
\i\insrsid8606978\charrsid12541185 Art Matters}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 , Vol. 2, Netherlands Technical Studies, Zwolle 2005, p.}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185\charrsid12541185  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid8606978\charrsid12541185 43.
\par 27 Vollard 1924 (cited in note 2), pp. 72\endash 3.
\par 28 Following a survey of Rewald\rquote s catalogue raisonn\'e9, Jenson proposes that less}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 than five per cent of C\'e9zanne
\rquote s total work was damaged or cut from larger}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 canvases. See Jenson 2006 (cited in note 18), note 26.
\par 29 Samples were analysed using EDX by Rachel Grout at the ÁùºÏ²ÊÔ¤²â.}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
In addition David Peggie identified two applications of ground comprising}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 lead white and barites in NG 6509 using SEM.
\par 30 Carbon-based black chars, including fruit stone chars, are described in}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
Nicholas Eastaugh, Valentine Walsh, Ruth Siddall and Tracy Chaplin, }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 The}{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid12541185\charrsid12541185  }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 
\i\insrsid8606978\charrsid12541185 Pigment Compendium, optical microscopy of historical pigments}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 , Vol. 2, Oxford}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185\charrsid12541185  }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 2004, pp. 230-1.
\par 31 In Marigene H. Butler\rquote s 1984 study of ten C\'e9zannes (cited in note 3), two}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 grey
 grounds were found. In addition there was a grey layer applied to the}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 face of }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 
\i\insrsid8606978\charrsid12541185 The Large Bathers }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 (1906) on top of a cream white ground. Of the}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185\charrsid12541185  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid8606978\charrsid12541185 nine C\'e9zannes examined in the Courtauld Institute Galleries only }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 The Lac}{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 
\i\insrsid12541185\charrsid12541185  }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 d\rquote Annecy}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 , 1896, has a grey ground.
\par 32 Media analysis of the ground and paint layers of the ÁùºÏ²ÊÔ¤²â paintings}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
has been carried out by Raymond White, Catherine Higgitt and David}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 Peggie using GC\endash MS and FTIR.
\par 33 Callen 2000 (cited in note 24), pp. 52\endash 7, provides a discussion of the range}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 of
 absorbent and semi-absorbent grounds commercially available in nineteenth-century France.
\par 34 Hendriks and Geldof 2005 (cited in note 26), p. 51.}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185\charrsid12541185 
\par }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 35 Rewald 1984 (cited in note 1), pp. 309, 310, 326, 329.
\par 36 It is difficult to be sure of the composition of cinnabar green as contemporary}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
descriptions vary, but cinnabar green was used as a synonym for chrome}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
green which was a mixture of lead chromate (chrome yellow) and Prussian}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 blue. See Nicholas Eastaugh }{\rtlch\fcs1 \ai\af1 
\ltrch\fcs0 \i\insrsid8606978\charrsid12541185 et al}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 ., }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 The Pigment Compendium, a dictionary}{\rtlch\fcs1 \ai\af1 
\ltrch\fcs0 \i\insrsid12541185\charrsid12541185  }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 of historical pigments}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
, Vol. 1, Oxford 2004 (Vol. 2 cited in note 30), p. 174.}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185\charrsid12541185  }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 Cinabre vert }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid8606978\charrsid12541185 was also called }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 vert anglais}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 , see Callen 2000 (cited in note 24), p.146.
\par 37 Chapuis 1973 (cited in note 12), cat. entries 320, 345, 507, 564, 667, 805,}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 963 and 1172.
\par 38 Emile Bernard\rquote s \lquote Souvenirs\rquote  was published in two parts in }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 Mercure de France}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 ,}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid12541185\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 October 1907, reproduced in Doran ed. 2001 (cited in note 2), p. 72.}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185\charrsid12541185 
\par }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 39 The term was principally confined to the crimson and scarlet colours}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid8606978\charrsid12541185 produced from cochineal by the agency of tin. See Nicholas Eastaugh }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 et al}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 .}{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid12541185\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 2004 (cited in note 36), Vol. 1., p. 86.
\par 40 In the nineteenth century crimson lake became a synonym for a cochineal}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 lake. Fine lake and burnt lake were also tradi
tionally cochineal lakes. See}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 Eastaugh }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 et al}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 . (cited in note 36), p. 134.
\par 41 Cross-sections were analysed using EDX and HPLC by Rachel Grout and}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 Jo Kirby at the ÁùºÏ²ÊÔ¤²â.
\par 42 It was also not found in the Philadelphia and Courtauld technical studies}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
(cited in note 3). A receipt for pigments sold by Tanguy to C\'e9zanne on 18}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
October 1888 has, however, recently been found by Clotilde Roth-Meyer}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
in the Fondation Custodia, Paris. It includes Naples yellow, as well as other}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 colours identified in the National
 Gallery paintings: Blanc d\rquote argent, Ocre}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 jaune, Outremer Guimet, terre verte, vert Veron\'e8
se, lacque fine and Jaune de}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 Naples.
\par 43 Callen 2000 (cited in note 24), p. 153. Callen suggests that the Naples yellow}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 that C\'e9
zanne was using may have been a cadmium yellow. Cadmium yellow}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 has been identified in }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 
\i\insrsid8606978\charrsid12541185 Tall Trees at the Jas de Bouffan }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 (}{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 c}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid8606978\charrsid12541185 .1883) in the Courtauld}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 study (cited in note 3).
\par 44 Leslie Carlyle, }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 The Artist\rquote s Assistant, Oil Painting Instruction Manuals and Handbooks}{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid12541185\charrsid12541185  }{\rtlch\fcs1 
\ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 in Britain 1800\endash 1900}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 , London 2001, p. 526.
\par 45 Ashok Roy, \lquote The Palettes of Three Impressionist Paintings\rquote , }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 ÁùºÏ²ÊÔ¤²â}{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid12541185\charrsid12541185  }{\rtlch\fcs1 \ai\af1 
\ltrch\fcs0 \i\insrsid8606978\charrsid12541185 Technical Bulletin}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 , 9, 1985, p. 19.
\par 46 Black (possibly fruit stone) char is also found in the Courtauld study (particularly}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
in the mid-1890s), and in the Philadelphia study (both cited in note}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 3). For information about black char see note 30 above.

\par 47 This is supported by both the Philadelphia and Courtauld Institute findings.}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 Although his father died in 1886, C\'e9
zanne received part of his inheritance}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 in 1882. See Rewald 1984 (cited in note 1), pp. 205\endash 6.
\par 48 Jo Kirby, Marika Spring and Catherine Higgitt, \lquote The Technology of Eighteenth}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
and Nineteenth-Century Red Lake Pigments\rquote , }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 ÁùºÏ²ÊÔ¤²â}{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid12541185\charrsid12541185  }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 
\i\insrsid8606978\charrsid12541185 Technical Bulletin}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 , 28, 2007, p. 90. On the basis of fluorescence when a cross}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185\charrsid12541185 -}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 section}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
was viewed in ultraviolet light, madder lake was also identified by}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 Rachel Grout in }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 
\i\insrsid8606978\charrsid12541185 An Old Woman with a Rosary}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 .
\par 49 The identification was made by Jo Kirby using HPLC in an internal}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 ÁùºÏ²ÊÔ¤²â report.}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid12541185\charrsid12541185  
\par }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 50 Roy 1985 (cited in note 45), p. 19.}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185\charrsid12541185  
\par }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 51 Raymond White, Jenny Pilc and Jo Kirby, \lquote Analysis of Paint Media\rquote , }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 National}{\rtlch\fcs1 \ai\af1 
\ltrch\fcs0 \i\insrsid12541185\charrsid12541185  }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 Gallery Technical Bulletin}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 , 19, 1998, p. 82.
\par 52 Maurice Denis in \lquote C\'e9zanne\rquote  in }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 L\rquote Occident}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 , September 1907, reproduced in}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid12541185\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 Doran ed. 2001 (cited in note 2), p. 173.
\par 53 A. Tabarant, \lquote Couleurs\rquote , in }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 Bulletin de la vie artistique}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 , 4, no. 14, 5 July 1923,}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid12541185\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 p. 289, quoted in Callen 2000 (cited in note 24), p. 175. It is likely that}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185\charrsid12541185  }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 C\'e9zanne was also using marten brushes for his watercolours.
\par 54 A }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 putois }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 is a polecat or a skunk. Vollard also recounts C\'e9zanne using brushes}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid12541185\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 of \lquote sable or pole-cat hair\rquote  see Vollard 1924 (cited in note 2), p. 128
\par 55 It is generally accepted that the Impressionists were against varnishing their}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
paintings. Callen attributes this view also to C\'e9zanne, see Callen 2000 (cited}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 in note 24), p. 210.
\par 56 Possibly even the application of tinted varnishes, see Callen (cited in note}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 24), p. 211.
\par 57 See }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 The Courtauld C\'e9zannes }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 2008 (cited in note 3) for a reference to Vollard\rquote s}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid12541185\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 use of the picture restorer Chapuis for relining and stretching of canvases.
\par 58 Feilchenfeld in Rewald }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 et al}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 . 1996 (cited in note 17), p. 17.
\par 59 Richard Shiff, }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 C\'e9zanne and the End of Impressionism}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 , Chicago 1984, note 23,}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid12541185\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 p. 299.
\par 60 For an outline of Pissarro\rquote s palette which technical analysis has shown also}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
contains black and earth colours see Lydia Milsom, \lquote The Relationship of}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
Camille and Lucien Pissarro Considered through Technical Examination of}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 their works from the Courtauld Collection\rquote 
, unpublished Courtauld Institurte}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 of Art Diploma dissertation, 2007, pp. 58\endash 9.
\par 61 Rewald 1984 (cited in note 1), p. 324. Translated here by John House.
\par 62 Doran ed. 2001 (cited in note 2).
\par 63 See note 1.
\par 64 Rewald }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 et al}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 . 1996 (cited in note 17), p. 509.
\par 65 The infrared images were captured by Rachel Billinge at the National}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 Gallery.
\par 66 Its absence in }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 An Old Woman with a Rosary }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 may be due to the heavily}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid12541185\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 worked nature of the paint layer that contains infrared-absorbing pigments.}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185\charrsid12541185  }{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 It is possible also that there is dry drawing in }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 Bathers }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 \endash 
 it was not looked at}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 using infrared reflectography.
\par 67 It was found on two of the ten paintings in the Philadelphia study and three}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 of the nine Courtauld C\'e9zannes examined.

\par 68 This differs from Monet\rquote s description of his initial lay-in, which he says,}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 \lquote 
should cover as much of the canvas as possible, so as to determine at the}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 outset the tonality of the whole\rquote 
. Quoted in Bomford }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 et al}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 . 1990 (cited in}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185\charrsid12541185  }{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 note 4), p. 97.
\par 69 The Courtauld study also shows C\'e9zanne\rquote s consistent use of bluish painted}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 underdrawing i
n conjunction with dilute blue, green, grey washes or scumbles}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 of paint.
\par 70 Doran ed. 2001 (cited in note 2), p. 73.
\par 71 Emile Bernard in \lquote Souvenirs\rquote , reproduced in Doran ed. 2001 (cited in note}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
2), p. 63. Translated here by John House.
\par 72 Ibid., p. 27.
\par 73 Paul Smith suggests that C\'e9zanne\rquote s paintings of Gardanne are examples of a}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 more piecemeal way of working, which C
\'e9zanne abandons. See Paul Smith,}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185\charrsid12541185  }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 Interpreting C\'e9zanne}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid8606978\charrsid12541185 , London 1996, p. 58.
\par 74 Jonathan Crary, }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 Suspensions of Perception}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 , Cambridge, Mass., and London}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid12541185\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 2000, p. 301.
\par 75 Doran ed. 2001 (cited in note 2), p. 110.
\par 76 }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 Still Life with Water Jug}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 , }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 c.}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid8606978\charrsid12541185 1893, oil on canvas, 53 x 71.1 cm, London, Tate.
\par 77 Lawrence Gowing argues that, \lquote after 1900 separable, physical objects in}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 C\'e9zanne\rquote s work increasingly merge 
into the flux of colour,\rquote  in \lquote The Logic}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 of Organized Sensations\rquote , William Rubin ed., }{\rtlch\fcs1 
\ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 C\'e9zanne: The Late Work}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 , New}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid8606978\charrsid12541185 York, Museum of Modern Art, 1977, p. 55.
\par 78 Gregory Ward, Senior Lecturer at Canterbury Christ Church University,}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 put forward the idea of journ
eys in a discussion we had in front of }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 La Route}{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid12541185\charrsid12541185  }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 
\i\insrsid8606978\charrsid12541185 Tournante}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 , }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 c}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
.1905 (London, Courtauld Institute Galleries).
\par 79 Doran ed. 2001 (cited in note 2), p. 60. Translated here by John House.
\par 80 Evelyn Benesch, \lquote From the Incomplete to the Unfinished\rquote , in Felix}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 Bauma
nn, Evelyn Benesch, Walter Feilchenfeldt, Klaus Albrecht Schroder}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 eds, }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 
\i\insrsid8606978\charrsid12541185 C\'e9zanne Finished, Unfinished}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 , Vienna 2000, p. 52.
\par 81 1898-1905, oil on canvas, 54 x 64 cm, Kunstmuseum Solothurn.
\par 82 Doran ed. 2001 (cited in note 2), p. 59.
\par 83 Vollard 1924 (cited in note 2), p. 126, reproduced in Doran ed. op. cit., p.}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 10.
\par 84 Rewald 1984 (cited in note 1), p. 284.
\par 85 Joachim Pissarro, }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 Pioneering Modern Painting: C\'e9zanne and Pissarro 1865\endash }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid12541185\charrsid12541185  }{\rtlch\fcs1 \ai\af1 
\ltrch\fcs0 \i\insrsid8606978\charrsid12541185 1885}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 , New York 2005, p. 52.
\par 86 Cross-section analysed by Rachel Grout at the ÁùºÏ²ÊÔ¤²â.
\par 87 Vollard gives accounts of C\'e9zanne\rquote s wilful destruction of his own work in}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 Vollard 1924 (cited in note 2).
\par 88 Rewald 1984 (cited in note 1), pp. 283 and 322.
\par 89 Doran ed. 2001 (cited in note 2), p. 133.
\par 90 Rewald 1984 (cited in note 1), p. 283.
\par 91 Due to his private income (albeit meagre at times) he was independent of a}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 system of patronage.
\par 92 Rewald 1984 (cited in note 1), p. 310.
\par 93 Rewald }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 et al}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 . 1996 (cited in note 17), p. 509.
\par 94 According to Gasquet; quoted in Anne Robbins, }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 C\'e9zanne in Britain}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 , London}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid12541185\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 2006, p. 85.
\par 95 T.J. Clark, }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 Farewell to an Ide}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 a, New Haven and London 2001, p. 153.
\par 96 Theodore Reff, \lquote C\'e9zanne\rquote s Constructive Stroke\rquote , }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 Art Quarterly }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 25, no. 3,}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid12541185\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 Autumn 1962, pp. 214\endash 17.
\par 97 }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 c.}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 1880, oil on canvas, 59 x 72 cm, Glasgow Museums, The Burrell Collection.
\par 98 Reff 1962 (cited in note 96), pp. 214\endash 7.
\par 99 Rewald }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 et al}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 . 1996 (cited in note 17), p. 11.
\par 100 Roy 1985 (cited in note 45), p. 19. It is important to note that the identification}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 o
f a yellow lake is extremely difficult, therefore it may have been used}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 more frequently than this study suggests.
\par 101 Vollard 1924 (cited in note 2), p. 129.
\par 102 Rewald 1984 (cited in note 1), p. 305. Translated here by John House.
\par 103 Paul Smith, }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 Impressionism Beneath the Surface, }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 London 1995, p. 156.
\par 104 Emile Bernard, \lquote Paul C\'e9zanne\rquote  in }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 L\rquote Occident}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 , July 1904, pp.17\endash 30, reproduced}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 in Doran ed. 2001 (cited in note 2), p 38. Translated here by John}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid12541185\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 House.
\par 105 Paul Smith, }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 Interpreting C\'e9zanne}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 , London 1996, p. 48.
\par 106 Rewald 1984 (cited in note 1), p. 261.
\par 107 Jonathan Crary 2000 (cited in note 74), p. 288.
\par 108 Bernard in }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 L\rquote Occident}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 , July 1904, reproduced in Doran ed. 2001 (cited}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid12541185\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 in note 2), p. 39. This is one of the \lquote opinions\rquote  that Bernard attributes to}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185\charrsid12541185  }
{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 C\'e9zanne.
\par 109 Rewald 1984 (cited in note 1), p. 299. Translated here by John House.
\par 110 Doran ed. 2001 (cited in note 2), p. 60.
\par 111 Gowing, \lquote The Logic of Organized Sensations\rquote , in }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 C\'e9zanne: The Late Work}{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid12541185\charrsid12541185  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid8606978\charrsid12541185 1977 (cited in note 77), p. 58.
\par 112 Rewald 1984 (cited in note 1), p. 294.
\par 113 Ibid., pp. 297-8.
\par 114 Doran ed. 2001 (cited in note 2), p. 62.
\par 115 Ibid., p. 73.
\par 116 }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 Portrait de l\rquote Artiste \'e0 la Palette (Self Portrait with Palette)}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 , }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 
\i\insrsid8606978\charrsid12541185 c.}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 1890, 92 x 73 cm,}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
Zurich, Stiftung Sammlung E.G. Buhrle Collection.
\par 117 Bomford }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 et al}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 . 1990 (cited in note 4), p. 61.
\par 118 Bernard, in }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 L\rquote Occident}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 , July 1904, reproduced in Doran ed. 2001 (cited in}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid12541185\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 note 2), p. 38. Translated here by John House.
\par 119 Doran ed. 2001 (cited in note 2), p. 39.
\par 120 For a more developed discussion see Elisabeth Reissner, \lquote Transparency of}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 Means: \'93Drawing\'94 and Colour in C\'e9
zanne\rquote s watercolours and oil paintings}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 in the Courtauld Gallery\rquote , in }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 
\i\insrsid8606978\charrsid12541185 The Courtauld C\'e9zannes }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 2008 (cited in note}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid8606978\charrsid12541185 3).
\par 121 See note 1.
\par 122 Robbins 2006 (cited in note 94), p. 88.
\par 123 Ibid., p. 85.
\par 124 Quoted in Shiff 1984 (cited in note 59), p. 195.
\par 125 Rewald 1984 (cited in note 1), p. 296.Translated here by John House.
\par 126 Smith 1995 (cited in note 103), p. 146.
\par 127 Robert Ratcliffe, \lquote C\'e9zanne\rquote s working methods and their theoretical background\rquote ,}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 un
published PhD, University of London (Courtauld Institute of}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 Art), 1961, p. 172.
\par 128 Ibid., pp. 134\endash 54.
\par 129 Rewald 1984 (cited in note 1), p. 322.
\par 130 Crary 2000 (cited in note 74), pp. 287\endash 8.
\par 131 Gowing 1977 (cited in note 77), p. 57.
\par 132 Maurice Merleau-Ponty, \lquote C\'e9zanne\rquote s Doubt\rquote  in }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 Sense and Non-sense}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 ,}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid12541185\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 Evanston, Illinois, 1964, p. 15.
\par 133 Conisbee 2006 (cited in note 20), p. 231.
\par 134 Vollard 1924 (cited in note 2), p. 126, reproduced in Doran ed. 2001, p. 10.
\par 135 Clark 2001 (cited in note 95), p. 165.
\par }\pard \ltrpar\ql \li0\ri0\widctlpar\wrapdefault\faauto\rin0\lin0\itap0\pararsid12541185 {\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 136 Crary 2000 (cited in note 74), p.34; here Crary refers particularly to}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid12541185\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 C\'e9zanne\rquote s work of the 1890s.}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid7297853\charrsid12541185 
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\par }\pard \ltrpar\ql \li0\ri0\widctlpar\wrapdefault\faauto\rin0\lin0\itap0\pararsid8606978 {\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 This volume of the }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid8606978\charrsid12541185 
Technical Bulletin }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 has been funded by the American Friends of the ÁùºÏ²ÊÔ¤²â,}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid8606978\charrsid12541185 London with a generous donation from Mrs Charles}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185\charrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 Wrightsman.}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid8606978 
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\par }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 All rights reserved. No part of this publication may be}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
transmitted in any form or by any means, electronic or}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 mechanical, including photocopy, recording, or any}{\rtlch\fcs1 \af1 \ltrch\fcs0 
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prior permission in writing of the publisher.}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978 
\par }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185\charrsid12541185 
\par }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 First published in Great Britain in 2008 by}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 ÁùºÏ²ÊÔ¤²â Company Limited}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 St}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 
Vincent House, 30 Orange Street
\par London }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid9984463 WC2H}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185  7HH}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978 
\par }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185\charrsid12541185 
\par }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 www.nationalgallery.co.uk
\par British Library Cataloguing in Publication Data
\par A catalogue record for this journal is available from}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 the British Library
\par }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185 ISBN}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185  978 1 85709 419 0
\par }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185 ISSN}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185  0140 7430
\par 525050
\par Project manager Jan Green
\par Editor Diana Davies
\par Designer Heather Bowen
\par Picture research Karolina Majewska
\par Production Jane Hyne and Penny Le Tissier
\par Repro by Alta Image, London
\par }\pard \ltrpar\ql \li0\ri0\widctlpar\wrapdefault\faauto\rin0\lin0\itap0\pararsid12541185 {\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid8606978\charrsid12541185 Prin}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid12541185 ted in Italy by Conti Tipocolor}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid8606978\charrsid12541185 
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