its highest the sea looks almost black and seems to be asleep between two headlands of rock, all white with warm touches of yellow and brown. Pine trees appear like green stains on the red earth. It is a vast picture, like a glimpse of a corner of the Far East appearing against the jarring glare of daylight.ΓÇÖ
The Bay of Marseilles, Seen from LΓÇÖEstaque (c.1878ΓÇô1879) was the first of C┼╜zanneΓÇÖs paintings to be included in a French national collection, when it was part of the Caillebotte Bequest in 1894.
In 1881ΓÇô1885 a factory was established in the Rio Valley to exploit the minerals of the Rio-Tinto, and this seems to coincide with C┼╜zanneΓÇÖs departure. He was disgusted by the disfiguring industrial development. Unlike the Impressionists, who were interested in modernity, he included factory chimneys in his paintings only to indicate their presence in the landscape rather than from a wish to illustrate the poetry of modern life. He disapproved of the savage intrusions into a familiar scene, and in 1902 he wrote to his niece: ΓÇÿI remember perfectly LΓÇÖEstablon and the once picturesque shore at LΓÇÖEstaque. Unfortunately, this so-called progress is nothing more than an invasion by two-legged animals who are not happy until they have transformed everything into hideous quays with gas burners or ΓÇô even worse ΓÇô with electric
