At the iKginningofihe I88()s Cezanne, tlisappoinied with the Parisian world of an. withdraws lo the citerished and familiar surroundings of Aix-en-I'rov-cnce. where he can devote him-selfto painting, without the hostile comments of critics and the lack of undcrsianilingorihe public and his colleagues, Avoiding the loose structure of Impressionism, Ce/anne is now looking for firmness and density. In par-lii'ular, he loves painting a place near Marseilles tailed l.'Rsla-i|ue, a fishing village The hniail view of the village, interspersed with...
At the iKginningofihe I88()s Cezanne, tlisappoinied with the Parisian world of an. withdraws lo the citerished and familiar surroundings of Aix-en-I'rov-cnce. where he can devote him-selfto painting, without the hostile comments of critics and the lack of undcrsianilingorihe public and his colleagues, Avoiding the loose structure of Impressionism, Ce/anne is now looking for firmness and density. In par-lii'ular, he loves painting a place near Marseilles tailed l.'Rsla-i|ue, a fishing village The hniail view of the village, interspersed with gri>ups»if irees. the blue tongue of the sea and the I laute I'rovenee on tlie horizon are not just intended to evoke an idyllic mood. The composition has a clear, firm structure, with broad. fliU brush-strokes and without the mediation of transitions between the various levels of the painting. I he colours, too, are clearly defined withoui those iridescent intermediate hues that characteri/ed the paintings of the Impressionists, (e/anne. Imwever. is no Itmger cuicerned with a mood or the magit of transitoriness. In studying the rugged l'rovençal landscape he succeeds in acquiring a new style, a pictorial colour structure lliat was to show the way ahead to the next generation of painters.pittufiiles loin «les allai|UL-s (Its iiilicjiicttt dt rmcoinpiéheiisiiin du public et de ses conlreres. S'<>pp
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