1959 Vauvenargues sous la pluie II Pablo Picasso (1881-1973) Period of creation: 1943-1961

The composition presents a view of a settlement nestled within a landscape dominated by imposing hills or mountains. The artist has rendered the scene with a distinct lack of atmospheric perspective; spatial depth is suggested not through subtle tonal shifts but through overlapping planes and abrupt changes in color.
Here we see a cluster of buildings, primarily white with touches of pink and grey, arranged around what appears to be a central structure topped by a tower or lantern. The architecture seems somewhat stylized, lacking precise detail yet conveying a sense of solidity and permanence. A low wall, punctuated by sculpted elements that resemble foliage, runs across the foreground, partially obscuring the buildings behind it.
The surrounding landscape is characterized by dark, undulating forms – likely hillsides – rendered in shades of green and black. These shapes are not naturalistic; instead, they possess a swirling, almost abstract quality, contributing to an overall feeling of unease or tension. The sky is barely discernible, merging with the darker tones of the background.
The color palette is restrained, primarily consisting of whites, greys, greens, and blacks, with occasional accents of pink. This limited range contributes to a somber mood. The application of paint appears deliberate and somewhat rough, emphasizing the materiality of the medium.
Subtly, the painting conveys a sense of isolation. The settlement seems detached from its surroundings, almost as if it exists in a self-contained world. The dark hills looming overhead suggest an oppressive presence, hinting at forces beyond human control. While there is no explicit depiction of rain (as suggested by the title), the overall atmosphere evokes a feeling of dampness and melancholy. It’s possible to interpret this work as a meditation on the relationship between humanity and nature, or perhaps an exploration of themes related to memory and loss. The stylized forms and flattened perspective suggest a subjective experience rather than a straightforward representation of reality.