Cezanne's Quarry (16 page)

“And now,” he said, after turning to a clean page, “Madame?—”

She almost said “Cézanne,” answering too quickly. Was this a trick? Paul always told her she talked too fast and said too much. She had to be careful and make a show of being utterly honest. “I am Hortense Fiquet, born in the town of Saligney in the Jura in 1850.”

He had dated the page and was writing this down.

“Then you are not married?”

“Engaged.”

“But you have a son.”

“Yes, Paul. Born in 1872.”

“Where is he?”

“With his father.”

“Painting?”

“No, watching.” Even though Paul hated anyone to watch him work.

“Then you have been together a long time.”

“Yes, we met in Paris in 1869. I was. . . .” If she told him she was a model, would he think she was a common, loose woman? She took a sip of the water. He waited, pencil poised. “I came to Paris when I was nineteen, and worked as a model for only a little while until I met Paul. We have been together ever since. Now I model only for him.” The judge had nice gray-blue eyes, but he was making her nervous, never taking them off her. She could hear the sounds of the men opening drawers, going through her things in the bedroom.

“May I ask why you haven’t married?”

She thought this might be coming. Hortense drew herself up. “Paul is waiting to get his father’s permission.” This did not seem to surprise the judge. Had he been to the Jas already? “As soon as Paul is established, we are sure his father will agree. We expect that to be any day now. His paintings are becoming better and better known. He has many of them with a dealer in Paris, who shows them constantly.” This was only half true. “Father” Tanguy had not sold a painting in months, and Paul still owed him for paints and supplies.

He wrote none of this down, just watched as she talked. Did he see her as a rejected woman? How much did he know about Paul and that witch Solange?

“Mme Fiquet, I must ask you some difficult questions.”

She would soon find out. She folded her hands in front of her, ready for battle.

“Did you know about Cézanne’s relationship with Solange Vernet?”

Without any hesitation, she answered. “No, actually I don’t believe there was a relationship.”

“Then you knew Mme Vernet?”

“No.” Paul had certainly never bothered to introduce them.

“Did you know a Charles Westerbury?”

Since he probably had some way to check on this, she admitted that she had been to one of his lectures.

“Not the whole course, then?”

She shook her head.

“Why?”

She shrugged. Marie had been so horrified, and Paul so scornful. Yet he had gotten involved with their circle. The judge was maddening. He kept staring at her, waiting. One of the gendarmes had just come into the living room across from them.

“Please don’t disturb the paintings!” she said as she rose. Paul would be furious.

Martin turned in his chair. “I’ll look through the paintings later. Leave them be. You can wait outside when you are done.” He settled in again. “You were telling me why you did not complete the course with M. Westerbury.” Now the gendarme was upending the cushions and searching behind the books. Hortense sat down again.

“Paul told me they were a sham, that he knew more about the geology of this place than the Englishman ever would.”

“Yet we know that Paul went to their salon.”

Hortense sat back, motionless. Paul had taught her how to do that during those endless, long sittings. He’d shown her how to remain expressionless, to hide what she was thinking and feeling.

“Did you know?” the judge persisted. “Did he talk about them?”

“Not really. I am sure they were not that important to him. He was probably seeking some stimulation, which can be very hard to find in Aix. You must know that yourself. You’re not from here.” This seemed clear from his accent. Martin did not respond. “You have to understand,” Hortense continued, bravely, “Paul is an important artist, interested in science, painting, literature, the whole gamut.”

The judge was drawing circles on the paper.

“You’ve been to Paris, of course?”

He nodded. The other gendarme, the bigger one, was moving about behind her, going through the kitchen drawers. He laid all their knives out on the table, one by one.

“Why is he doing that?” She could hear her own voice rise to a high pitch. “Those have never left my kitchen.”

Martin fingered the knives and pushed them aside. “Put them back,” he said quietly. “Sorry,” he said to Hortense. “Please go on.”

“Well,” she swallowed hard and tried to concentrate on what she needed to say, “if you have been to Paris, then you must have heard of the impressionist group. About Manet.” Everyone had heard of Manet. “Paul is a friend of Manet. When we lived in Paris, we used to meet with him and others at the Café Guerbois practically every night. I don’t know if you have heard of Monet or Pissarro, but Paul is very good friends with them too. We’ve just visited Monet’s new place at Giverny this summer.”

Although the judge had written down “Manet,” he did not seem moved. Maybe he did not know much about the art world. She had to make him understand that she and Paul were not merely provincials. They couldn’t just take Paul off to prison and throw away the key, even if he had been crazy enough to commit a crime of passion. She had to use the last trump card.

“And of course his best friend is Zola.”

This time Martin looked up, impressed. After all, Émile Zola was France’s most famous writer.

“Oh, yes, they grew up together in Aix,” she assured him.

“Zola” went down on the note pad.

“They were schoolmates. Zola always said that Paul was his protector because Zola’s family was so poor. His father built the town dam near the Bibémus road. But after he died, the town ignored the family. Zola had to go to Paris with his mother to make his way right after he left school. But he and Paul kept in touch. They correspond constantly. We’ve stayed at his house at Médan many times.” Or at least Paul had. He usually avoided taking her, so that he could have Zola all to himself. “It’s a magnificent place. Filled with antiques and books and art, including several of Paul’s paintings. We were just there in July. We’re all very good friends,” she added for emphasis. She knew she was talking too much, but she just couldn’t help herself. She had finally gotten the young judge’s attention.

“The only reason Paul is in Provence is because he believes that he will create his greatest works in this landscape. We would be welcomed in Paris, at Médan, any time. As for Gardanne, Paul thought his son and I might like a little break from Aix while he explores different landscapes. Here, let me show you.” She got up, ready to go into the living room.

“Just a moment, please, then we can look at the paintings.”

Hortense was relieved that the judge had finally said something, but dismayed that he was beginning to scrutinize her meager living quarters. She chewed on her lip as she waited for him to say more.

“How often does Cézanne come to Gardanne?” he finally asked.

“Every day.”

“Even on Sunday? Last Monday?”

“Every single day and . . . let’s see . . . ,” Hortense paused, as if she were trying to make sure that what she said was correct. “Last Sunday and Monday. Oh yes, right after the Feast of the Assumption. Paul was here. He had seen the procession in Aix so often, we decided to picnic and then he stayed the night.” Hortense wished she knew exactly when that witch had been murdered. “I think he only went back on Tuesday to see his sick father.” There, she had done it. And he was writing it down.

But then he did the most disconcerting thing. He began to leaf backward through his notes, notes he had taken elsewhere. Where? Whom had he spoken to? Hortense’s heart started pounding again. If she was going to save Paul, she had to be more careful.

“All right, then.” He closed his notebook and got up with a grim little smile. A smile of obligatory politeness. Or pity. Perhaps he stopped questioning people who lied to him. She could feel hot tears coming to her eyes as he went through the pile of papers and gloves that the gendarmes had placed before him on the table. When he handed them back to her, with a quiet thank-you, she went quickly into the bedroom, relieved to be out his sight, while she put her things away.

By the time she was done, the judge was already searching through the paintings stacked against the living room wall. She caught him staring at a portrait of her sitting in a chair. How she hated the way she looked, blank and unrecognizable. She never understood why it took Paul so long to produce so little. No feeling, no character. “Sit like an apple,” he would tell her. “Be still.” And for what?

She took a breath, clasped her hands together and reentered the room. “Paul says,” she needed to explain, somehow, that Paul painted her that way for a reason, “Paul says that he is interested in the whole canvas, not just the subject. With the portraits, sometimes he will start in the middle, just like he starts a still life or landscape, and then he builds outward. That’s why, in his art, a face has no more significance than the chair or the wallpaper.” Sometimes she wondered if she was any more significant to Paul than apples or the wallpaper. Still, she needed to rattle on, and try to set things right. To show the judge that Paul painted that way on purpose, not because he could not do better. “It’s the whole canvas that’s important. The whole thing. That’s his new idea.”

Just then, they heard a commotion in the street. She ran to the window. The gendarmes had Paul by the arms. He was shouting at them to let him go. His hair was sticking out in all directions, his bald head beaming in the sun. When he saw her, he yelled, “Get in touch with Maxim.”

“Yes, dear, of course,” she called out, as he passed below. She closed the shutters. If he wanted her to find his brother-in-law Maxim, then he knew he needed a lawyer. And she knew what she had to do.

“How are you taking Paul back?” she asked the judge.

“In a wagon. It’s down the hill.” He was pocketing his notebook.

“Take me and my son, please. We need to be with Paul.”

“I don’t think it will be very comfortable. And it might be disturbing for your son to see his father—”

Just then Paul Jr. flung open the door. “Maman, Maman, they are taking Papa. The gendarmes are taking Papa away.” Hortense was relieved to see he looked more excited than scared.

“Please!” There was nothing she could do in Gardanne. In Aix she’d make sure that Maxim was notified. She’d even send a telegram to Zola. And she’d escape this godforsaken town.

“I am not sure that you and your son—” Did the judge really care about what her son might feel?

She’d beg on her knees if she had to. Grab on to Martin, and not let him out of the door. First, though, she’d play the part of a concerned and affectionate mother. Hortense took hold of her son’s shoulders and turned him around to face the judge. “Don’t you want to go back to Aix with Papa and ride with the gendarmes?”

Paul Jr. looked back and forth between the judge and her. It was beginning to dawn on him that something serious was happening.

“We’d feel isolated here, wouldn’t we, son? We’d worry about Papa,” she continued, smoothing down her son’s straight brown hair.

He nodded his head slowly. “I’d like to go with my father, sir.”

Martin stared at her son as if he knew him from somewhere, or was trying to recognize someone else in him. Hortense couldn’t tell which, and she couldn’t have cared less. What was important is that Paul Junior’s plea seemed to do the trick.

“All right, then,” the judge relented, “but you must hurry.”

“You stay here with the judge,” she told her son, “and I’ll be right back.” She flew to the bedroom and began tossing some clothes and hats into two cloth sacks. They would stay in the family house on the rue Matheron, where Paul had never dared to let them stay before. How could he refuse her now? It was he who was causing all the trouble. He needed her. He needed her help. She’d be the one to get in touch with Maxim, contact the Jas and, yes, telegraph Zola.

I
T WAS GOOD TO BE ON HORSEBACK,
away from Franc’s incessant talking. Martin was not a skilled rider, but the gendarme’s horse was well-trained, and guiding it along the uneven paths between Gardanne and Aix gave him something besides the dead boy to think about. So did the inhabitants of the wagon. Franc was none too pleased that Martin had allowed the woman and her son to come along, and ordered François, the biggest and most experienced of his men, to sit with them. Martin, in turn, had insisted that Cézanne did not need to be tied up. With four men on horses, there was no possibility of escape. And, just as Martin predicted, the presence of his family calmed down the artist, whose cries of protest had alerted the entire town to his arrest.

At times, Cézanne, who was wearing a gray cap hastily provided by Hortense Fiquet, sat silently, watching the receding road. Other times, he chatted with his son, who insisted on sitting next to him. Martin overheard Zola’s name as they were crossing the Arc. The artist was pointing to a particular spot near the river with one arm while he held on to his son’s shoulder with the other. He seemed to be recounting a story from his own childhood. Martin drew closer, but could not hear what they were saying. The woman had told him that Cézanne and Zola were the best of friends. If that were true, and the famous author decided to get involved, he would be a formidable adversary.

Martin was struck by the artist’s seeming nonchalance. He could not tell whether Cézanne was trying to demonstrate his innocence, or just putting on a brave face for his son. The artist had no such tender concern for Hortense Fiquet. Their conversation before getting into the wagon had been loud enough for all to hear, an argument about whether or not they should stay in the family apartment. Evidently, Cézanne would have to go to the Jas and beg for the key, and he did not want to do that. Once the journey was under way, the two of them never exchanged a word. She sat with the bags beside François, across from her son and lover, staring at the road before them. Paul Cézanne seemed to dote on his son, but this was clearly not a happy family.