placed on the left. This device was probably derived from his work with Pissarro. In general, these paintings contain a relaxed gradation of greens, grays, and blues that imbue this series of paintings with more of a sense of peacefulness. They tend to be more consistent and transparent, creating atmospheric effects unique in Cézanne’s repertoire. In one painting with a single pine, the dark brown of the trunk and brighter green of the needles set up an effective contrast to the calmer background, giving the effect of “tranquil release.” In another, all the colors are more translucent, creating a sense of awe and structure sometimes aided by Chinese white paint, which had an “opalescent” quality. In the painting Mont Sainte-Victoire Seen from the Bibémus Quarry, c. 1897, as an example from this period, Cézanne concentrated on the peak of the mountain, floating above the reddish rocks below it. The mountain rises above the smooth, angular quarry, the crest tying the landscape together and providing a sense of stability. Mont Sainte-Victoire acts as a counterpoint to the dynamic perspective of the foreground. The work was painted from a high vantage point, with the tops of the pine trees as visual entry points to the scene. The viewers encounter this warm green gate before the cold rocks beyond. In another example of this period, Mont Sainte-Victoire seen from above the Tholonet Road, c. 1896-8, the mountain looms overhead, effectively displacing the sky. This painting similarly utilizes warm, red tones across the landscape and cool, blue tones across the mountain and sky, with the clear light exposing the dry air. This work is more reductive than his past works; the higher vantage point allows the slope of the valley leading into the mountain to lie open and the foreground to be reduced, and Mont Sainte-Victoire to stand boldly and clearly before the viewer. Pine trees anchor the composition, giving it a sense of stability. It has a vertical format, emphasizing the upwards formation of the mountain. This vertical format is only present in two of Cézanne’s other paintings of Mont Sainte-Victoire. As a final example, in Cézanne’s canvas at the Musée d’Orsay, the viaduct is included, as usual, but the road was obscured, reorienting the features of the landscape. The painting emphasizes horizontal elements in the composition. In this work, Cézanne blended and undercut colors; green, ocher, and blue shades are set against