L’Histoire by Salomé Jacques

Bastides, with their elegant structures and meticulously designed gardens, created in Provence a landscape both historically rich and visually captivating. Emerging in the early 1700s, they were distinguished by their sturdy structures built from local stone, terracotta-tiled roofs, and luxurious gardens. These grand estates often featured tall, wide windows that faced the gardens and vineyards, blending architecture with the surrounding landscape. It is in this idyllic setting that the French avant-garde flourished in the 19th and 20th centuries, drawing inspiration from the region’s incomparable beauty.

For the Impressionists, the light of Provence was everything — vibrant, lifelike, and perfect for capturing the fleeting ‘impression’ of everyday scenes. Painting ‘en plein air’ allowed them to immerse themselves directly in the Provencal landscape, setting up their easels amidst nature with just a few tubes of oil paint. With shades of vermillion, emerald green, cerulean blue, and lemon yellow, they rendered the Mediterranean coast and its villages with remarkable precision. Claude Monet  immortalised the ruins of Château Noir, Berthe Morisot captured the bustling port of Nice, Auguste Renoir depicted the intimate Cagnes-sur-Mer… The eyes of the ‘artist-traveller’ in the 1880s were drawn to the South of France, a region of unparalleled beauty—authentic, classical, and still largely unexplored. For the Impressionists, and for the movements that followed, Provence became the canvas for a pictorial revolution. 

Vincent Van Gogh’s journey to the South of France was driven by a more introspective and emotional quest. Arriving in Arles in 1888, Van Gogh was drawn to Provence’s spirituality. Instead, the region became the backdrop for his intense emotional struggles, culminating in his confinement at the asylum of Saint-Paul-de-Mausole in Saint-Rémy. Despite this turmoil, Provence inspired some of Van Gogh’s most iconic works; Masterpieces like Café Terrace at Night (1888), Starry Night (1889), and Self-Portrait with a Bandaged Ear (1889) reflect his bold, expressive use of colour - marking a profound departure from the more detached gaze of the Impressionists and defining the essence of Post-Impressionism. In contrast, the Neo-Impressionists viewed the South of France as a canvas for both artistic experimentation and radical ideals. Embracing the pastoral landscapes of the Midi, they blended classical motifs with depictions of Mediterranean life. For them, Provence represented a utopia where nature, art, and individual freedom coexisted harmoniously. Paul Signac, a committed anarchist, admired the region’s simplicity and rurality - his pointillist depictions of Saint-Tropez captured its unique atmosphere. The vibrant colours, coastal pine trees, and unspoiled rural life symbolised the promise of a better society, making the region a refuge for those seeking both artistic and personal liberation.

Meanwhile, Paul Cézanne’s observations of Provence had a profound and lasting impact on modern art. His deep attachment to his native Provence was not merely a recurring theme in his work; it was the driving force behind his development of a unique visual language. This is perhaps most evident in his numerous depictions of Mont Sainte-Victoire. By deconstructing nature into geometric forms, Cézanne conveyed the softness of the Provençal sunlight, inviting the viewer to observe the serene yet complex scenery that marked his life. Another example of this is Les Grandes Baigneuses; Cézanne’s ability to merge tradition with abstraction redefined the way landscape was perceived. These principles were fundamental to the emergence of Cubism. For instance, L’Estaque was for George Braque a sincere immersion in Cezanne’s world; paying homage to Provencal authenticity, its people, houses, landmarks, the earthy tones of his palette reflect the traditional hues of the southern landscape while pushing the boundaries of Cubist experimentation. 

In the Summer 1905, André Dérain and Henri Matisse travelled to Collioure; the leaders of the Fauvists painted its coastal charm with intuition, the colour infused with a bold, anti-naturalistic, and sensual palette of reds, pinks, greens, violets, blues. In many ways, Provence revealed itself to them like a prophecy. Matisse declared in his manifesto Notes of a Painter (1908) ‘what I am, above all, is expression’. This statement perfectly encapsulates the spirit of the Fauvist movement, with its dedication to artistic innovation and reacting emotionally to the world that surrounds them. In fact, it is in Provence that Matisse ventured beyond the parameter of the canvas, leaving a permanent mark on the region’s cultural heritage. The Chapelle du Rosaire in Vence stands today as a reminder of Matisse’s commitment to spiritual perfection.