Paul Cézanne – Gardanne Metropolitan Museum: part 3

The canvas presents a view of a densely populated hillside settlement, rendered with a distinct emphasis on geometric forms and fractured color. The composition is dominated by tightly packed buildings, their roofs exhibiting a range of terracotta hues punctuated by patches of grey and pale yellow. These structures appear almost to cascade down the slope, creating a sense of visual weight and complexity. A prominent tower punctuates the skyline, its verticality contrasting with the horizontal sprawl of the village below.
The artist’s approach to perspective is unconventional; theres a flattening effect that diminishes depth perception. Buildings are not precisely aligned or rendered in traditional linear perspective, contributing to an overall sense of instability and abstraction. The sky above is treated as a field of swirling blues and whites, applied with broad, visible brushstrokes that suggest movement and atmospheric turbulence.
The color palette is restrained yet vibrant. While earth tones dominate the built environment, touches of blue, green, and ochre introduce visual interest and prevent the scene from appearing monotonous. The application of paint is thick and textured; impasto is evident in many areas, adding a tactile quality to the surface. This technique also contributes to the fragmented nature of forms, as edges are blurred and details are obscured by the visible brushwork.
Subtly, theres an exploration of light and shadow that isn’t reliant on traditional modeling techniques. Instead, variations in color intensity suggest shifts in illumination across the settlement. The overall effect is one of a place observed from a distance, filtered through the artist’s subjective perception. It evokes a sense of quiet contemplation rather than immediate realism. Theres an underlying tension between the ordered arrangement of buildings and the chaotic application of paint, suggesting a desire to capture not just what is seen but also how it is felt. The work seems less concerned with precise representation and more focused on exploring the formal qualities of color, shape, and texture.