Drawing was central to Cézanne's indefatigable search for solutions to the problems posed by the depiction of reality. Many of his watercolours are equal to his paintings, and he himself made no real distinction between painting and drawing. This book's six chapters are arranged thematically covering the whole range of Cézanne's oeuvre: works after the Old Masters such as Michelangelo and Rubens; his period as one of the Impressionists; his exploration of both portraiture and the human figure, including the magnificent bathers; his interaction with landscape, particularly in his native Provence and the dominating form of Mont Sainte-Victoire; and finally the magisterial still lifes. In the Introduction, as well as throughout the book, Lloyd sets the drawings and watercolours in the context of Cézanne's life and overall artistic development. The result is a greater understanding of the process that led to some of the most absorbing art ever produced.

In the last years of his life Paul Cézanne produced a stunning series of watercolors, many of them sill lifes. Still Life with Blue Pot is one of these late masterpieces that is now in the collection of the Getty Museum. In Cézanne in the Study: Still Life in Watercolors, Carol Armstrong places this great painting within the context of Cezanne’s artistic and psychological development and of the history of the genre of still life in France. Still life—like the medium of watercolor—was traditionally considered to be “low” in the hierarchy of French academic paintings. Cézanne chose to ignore this hierarchy, creating monumental still-life watercolors that contained echoes of grand landscapes and even historical paintings in the manner of Poussin—the “highest” of classical art forms. In so doing he changed his still lifes with new meanings, both in terms of his own notoriously difficult personality and in the way he used the genre to explore the very process of looking at, and creating, art. Carol Armstrong’s study is a fascinating exploration of the brilliant watercolor paintings that brought Cézanne’s career to a complex, and triumphant, conclusion, The book includes new photographic studies of the Getty’s painting that allow the reader to encounter this great watercolor as never before, in all of its richness and detail.

Cézanne's watercolors exhibit not only kaleidoscopic arrays of translucent color but also very light graphite pencil lines that contrast strikingly with the soft watery touches of color. These drawn lines have been largely overlooked in previous studies of Cézanne's watercolors. In this ravishing book, Matthew Simms argues that it was the dialogue between drawing and painting--the movement between the pencil and the paintbrush--that attracted Cézanne to watercolor. Watercolor allowed Cézanne to express what he termed his "sensations" in two distinct modes that become a record of his shifting and spontaneous responses to his subject. Combining close visual analysis and examination of historical context, Simms focuses on the counterpoint of drawing and color in Cézanne's watercolors over the course of his career and as viewed in relation to his oil paintings. More than a tool for sketching or preparing for oil paintings, Simms contends, watercolor was a unique means of expression in its own right that allowed Cézanne to combine in one place the two otherwise opposed mediums of drawing and painting.

Cézanne at his most modern: a major career-spanning appraisal of his extraordinarily experimental drawings Although he is most often celebrated as a painter, Paul Cézanne's extraordinary vision was fueled by his experiments on paper. In pencil and watercolor, on individual sheets and across the pages of sketchbooks, the artist described form through multiple probing lines; realized compositions through repetitions and transformations; and conjured kaleidoscopic color through layering of watercolor. It is in these material realities of drawing where we see Cézanne at his most modern: embracing the unfinished, making process visible and actively inviting the viewer to participate in the act of perception. Published to accompany a major exhibition at the Museum of Modern Art, this is the most significant effort to date to unite drawings from across Cézanne's entire career, tracing the development of his practice on paper, exploring working methods that transcend subject, and devoting both curatorial and conservation-based research to these remarkable works.

The legendary Hollywood Hills are home to wealth, fame, and power -- passing through the neighborhood, it's hard not to get a little greedy. LAPD veteran "Hollywood Nate" Weiss could take or leave the opulence, but he wouldn't say no to onscreen fame. He may get his shot when he catches the appreciative eye of B-list director Rudy Ressler, and his troublemaking fiancée, Leona Brueger, the older-but-still-foxy widow of a processed-meat tycoon. Nate tries to elude her crafty seductions, but consents to keep an eye on their estate in the Hollywood Hills while they're away. Also minding the mansion is Raleigh Dibble, a hapless ex-con trying to put the past behind him. Raleigh is all too happy to be set up for the job -- as butler-cum-watchdog -- by Nigel Wickland, Leona's impeccably dressed art dealer. What Raleigh doesn't realize is that under the natty clothes and posh accent, Nigel has a nefarious plan: two paintings hanging on the mansion's walls will guarantee them more money than they've ever seen. Everyone's dreams are just within reach -- the only problem is, this is Hollywood. A circle of teenage burglars that the media has dubbed The Bling Ring has taken to pillaging the homes of Hollywood celebutants like Paris Hilton and Lindsay Lohan, and when a pair of drug-addled young copycats stumbles upon Nigel's heist, that's just the beginning of the disaster to come. Soon Hollywood Nate, surfer cops Flotsam and Jetsam, and the rest of the team at Hollywood Station have a deadly situation on their hands. Hollywood Hills is a raucous and dangerous roller coaster ride that showcases Joseph Wambaugh in vintage form.

This beautifully illustrated book features twenty-four masterpieces in portraiture by celebrated French artist Paul Cézanne (1839-1906), offering an excellent introduction to this important aspect of his work. Arranged chronologically and spanning five decades, featured portraits range from a selection of the artist's self-portraits, made throughout his life, to paintings depicting family and friends, including his uncle Dominique, his wife Hortense, his son Paul, and his final portrait of Vallier, the gardener at his house near Aix-en-Provence, completed shortly before Cézanne's death. Art historian Mary Tompkins Lewis contributes an illuminating essay on Cézanne and his portraiture for general readers, alongside an illustrated chronology of the artist's life and work.