Vlaminck, Maurice de – Landscape with a house on the hill Hermitage ~ part 03

The canvas presents a landscape dominated by a palpable sense of atmospheric weight and subdued color. Here we observe a rolling terrain, punctuated by a modest dwelling situated atop a prominent hill. The composition is structured around a series of receding planes, creating depth while simultaneously flattening the perspective through the application of broad, gestural brushstrokes.
The palette is largely restrained; earthy browns and greens prevail, with touches of ochre and grey contributing to a somber mood. The sky, rendered in swirling strokes of muted white and grey, suggests an impending storm or a lingering overcast condition. This atmospheric density contributes significantly to the painting’s overall feeling of melancholy and quietude.
The artist employed a vigorous impasto technique, particularly noticeable in the foreground where thick layers of paint build texture and emphasize the physicality of the scene. The brushwork is not concerned with precise representation; instead, it prioritizes conveying an emotional response to the landscape. Lines are blurred, forms are simplified, and details are largely absent, contributing to a sense of immediacy and raw feeling.
The house on the hill, while present, appears almost swallowed by the surrounding environment. Its small scale and muted coloration suggest vulnerability or isolation. The presence of trees, rendered with dark, agitated strokes, further reinforces this impression of solitude. A small body of water is visible in the lower left corner, its surface reflecting the overcast sky, adding to the painting’s overall sense of stillness and introspection.
Subtly, theres a suggestion of human intervention within the natural world – the cut earth along the hillside hints at cultivation or construction. However, this intrusion does not disrupt the prevailing mood of quiet resignation; rather, it is absorbed into the landscape as another element contributing to its overall character. The signature in the lower left corner, executed with similar energy and spontaneity as the rest of the work, reinforces the impression of a direct, unmediated encounter with the subject matter.