shades of lavender and chartreuse yellow, brightening the painting. It has a blended and smooth quality that is less crisp and clear than his other, more architectural works. This painting also notably has a more golden hue and autumnal color than his other contemporary works, presaging his later Mont Sainte-Victoire works. Late period paintings Cézanne’s Late Period ran from about 1895 until his death in 1906, but most of his works of Mont Sainte-Victoire came from the time after Cézanne bought property just north of Aix in 1902. From 1902-1906, Cézanne painted Mont Sainte-Victoire eleven times in oil paint, and many more in watercolor. This period was defined by more saturated colors, less stable compositions, and a more clear division of forms into smaller parts, as dictated by Cézanne’s thick brushstrokes. He created his forms with discrete patches of intense color, developing his compositions by considering the elements of the paintings as geometric shapes imbued with color. The structure constructed from these shapes became stronger and then more implied, in order to emphasize emotional intensity. The subject matter was almost unrecognizable within the brushstrokes, pointing the way toward abstraction. Cézanne’s analytical approach to these unpopulated landscapes caused the paintings to seem distanced from humanity. In the paintings Cézanne did from this period, the mountain was often shown in dramatic profile, the peak rising over the surrounding plain, which spread out in a patchwork of farm buildings, trees, and fields. They are imbued with a sense of urgency and anticipation. Cézanne emphasized the roughness of nature in these paintings by combining the stark, architectural forms of the landscape and mountain with the wild, lyrical vegetation. He did not seek to represent nature traditionally, but rather to, first and foremost, express the consistent, permanent nature of the structure beneath the surface. In several of the Mont Sainte-Victoire paintings, Cézanne left parts of the canvas bare. Furthermore, he often used diluted oil paint and watercolor. He saw these as giving him greater freedom and flexibility, painting faster, lighter, and with more fluidity. The fleeting lighting and weather in which some of his paintings were made led to many of them being left unfinished. This unfinished quality of Cézanne’s works was a continuation of the Impressionists’ method of intentionally making their paintings look unfinished, or sketch-like. In one painting from this period, simply entitled Mont Sainte-Victoire, and which is now in the Annenberg Collection,