MEULE ET CITERNE SOUS BOIS,1892, BARNES FOUNDATION Paul Cezanne (1839-1906)

The composition presents a densely wooded area, rendered with a distinct emphasis on geometric structure and color relationships. The artist has arranged the scene around two primary forms: a circular element positioned towards the left and a rectangular block situated further back within the space. These shapes are not presented as isolated entities but rather integrated into a complex network of vertical lines – the trunks of trees – that dominate the visual field.
The palette is predominantly green, ranging from deep olive to vibrant emerald, punctuated by ochre, yellow, and touches of blue. The application of paint appears deliberate; brushstrokes are visible, contributing to a textured surface that suggests both depth and an inherent instability within the depicted landscape. Color isnt used descriptively so much as to create spatial relationships and a sense of atmosphere. Areas in shadow are not simply darker versions of the surrounding colors but possess their own distinct hues, adding complexity to the overall visual effect.
The arrangement of the trees creates a layered effect, obscuring portions of the background and generating a feeling of enclosure. The circular form on the left is partially concealed by foliage, its edges softened and indistinct. This ambiguity contributes to an impression that the scene is observed from a specific vantage point, one that is both intimate and somewhat restricted.
The rectangular block in the distance appears monumental despite its relative smallness within the frame. Its dark coloration contrasts with the lighter tones of the surrounding vegetation, drawing attention to it as a focal point. The interplay between these forms – the circle, the rectangle, and the verticality of the trees – suggests an underlying order, albeit one that is not immediately apparent.
Subtly, theres a sense of melancholy or quiet contemplation evoked by the scene. The density of the foliage and the limited visibility create a feeling of isolation. The geometric simplification of forms, while visually compelling, also distances the viewer from any immediate emotional connection to nature. It’s not a celebratory depiction of the outdoors but rather an analytical study of form and color within a natural setting – a landscape rendered through intellectual observation rather than sentimental response.