In drawing after Charles-Antoine Coysevox's marble statue of a faun playing a flute, which was moved form the Tuileries Gardens to the Louvre in 1870, Cézanne softens and slightly blurs the sharply defined stone forms and, by concentrating his shading along their edges, creates a vivid sense of light and shade. As a result, the figure seems bathed in atmosphere and sunlight, as if it were seen once again outdoors rather than in a museum. Theodore Reff, from Paul Cézanne: Two Sketchbooks (1989), p. 67.