R792 – La Maison Maria sur la route du Château Noir, vers 1895 (FWN309)
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Stepping back considerably from where Cézanne painted the Château Noir derrière les arbres, he stood close to the residence called La Maison Maria; the house is now surrounded by a forest, but in Cézanne’s time it stood in the open; he could also see the Château Noir itself, and the Mont Sainte-Victoire, in the background. I would presume that what caught the painter’s eye was the brilliant contrast between the house and the sky (the ochre walls seemingly darkening the sky) and the subtle continuity between the road and the mountain. The house, however, is perfectly vertical and horizontal, and to the painter’s eye, I would think, would appear too still against the sharply receding road in front of it; in any case, he opted for a rakish composition in which nothing stands still and the oblique road is only a part of the movement (as is the crucial sky, which balances the angle of the road). The result is not a painting that aims to resolve all its tensions; on the contrary, they remain deeply felt. The sky is a saturated cobalt blue and complements the brilliant variety of yellows, oranges, and reds in the house; and the sharp viridian green of the vegetation, standing cool and trenchant, stands half-way between the harsh warm and cool opponents. Only the strong center—the yellow wall—provides a point of focus and respite. None of these devices are new of course (we had seen them in gentler form in Pigeonnier de Bellevue), but here they are more needed than before, and they are honed to a sharper edge.
Source: Machotka, Cézanne: The eye and the Mind.
Le site vers 1935 :