While a path opens in the foreground, trees and rocks obscure the view of the countryside. The stark shadows of the trees also seem like barriers. Instead of suggesting spatial depth, the pictorial elements appear two-dimensional – an effect exacerbated by the broad, rhythmical brushstrokes. This state of tension in drawing the spectator in and simultaneously refusing him access to the painting can be found in numerous Impressionist works. Paul Cézanne was in close contact with Claude Monet, Camille Pissarro and Auguste Renoir and contributed to the first Impressionist exhibitions.
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