R932 – La Montagne Sainte-Victoire vue des Lauves, 1904-1906 (FWN368)
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The other late version is the agitated, impulsive, fierce R932-FWN368. The mountain once again lunges forward, pushed by its incisive back, and in fact strains uphill on a plateau arbitrarily tilted upwards. The dynamic lines—the outline of the mountain and the slashes in the middle ground—suggest that the painting was conceived differently again; here, large patches matter only in the sky and the framing masses of trees. But they do matter, and are painted carefully, in many layers, often in full paste. In certain parts Cézanne returns to earlier styles, as in the peripheral patches, which on the left are done in a parallel touch that we would have seen in the early 1880s; but in others, such as in the detailed middle ground, he is more relentless and free at the same time, rejecting vertical and horizontal touches in favor of tight, diagonal ones that funnel toward the center, to reflect the hump of the mountain. He impels his vision and his sense of the possible far forward; colors, for example, interpenetrate more than in any other landscape. Greens pop up everywhere, sometimes in very small touches, and greens are his final addition to the surface: small, lime-green flecks placed on top of the darker greens, turning reflected light into inner luminousness. If he had started out with detached patches of color, as seems almost certain, then he succeeded only too well in joining them at their edges–and had to find his way back to a rhythmic surface by adding to it these vivid, detached touches.
Source: Machotka, Landscape into Art.