Paul Cézanne, Hillside in Provence

The following pigment analysis is based on the investigation of the painting by the scientists at the National Gallery London (1,2).

1 Bluish sky: lead white and artificial ultramarine.

2 Pale turquoise sky on the left: lead white, emerald green, and artificial ultramarine mixed in equal proportions.

3 Brilliant green foliage: emerald green and a small amount of viridian.
4 Brilliant green field: emerald green and a small amount of viridian.
5 Rose-mauve patch: lead white and vermilion with a trace of artificial ultramarine.
6 Bluish mauve patch: lead white and artificial ultramarine with small amounts of vermilion and emerald green.

7 Yellow-green grass on the edge of the path: Yellow lake glaze over lead white and viridian.
8 Straw-coloured foreground: thin yellow glaze and little vermilion and black.

9 The deep dark blue shadow between rocks: artificial ultramarine, some lead white and ivory black.
10 The thin brown colour of foreground rocks: yellow ochre, yellow-brown ochre mixed with yellow lake, and a trace of vermilion.

11 Grey-blue horizon on the right side: lead white and artificial ultramarine with a little vermilion and a black pigment.

References

(1) David Bomford, John Leighton, Jo Kirby, Ashok Roy, Impressionism: Art in the Making, National Gallery London Publications), 1991, 196-199.

(2) Roy, A. The Palettes of three Impressionist Paintings, National Gallery Technical Bulletin, Vol 9, 1985, 12-20. Available as pdf.

References

(1) David Bomford, John Leighton, Jo Kirby, Ashok Roy, Impressionism: Art in the Making, National Gallery London Publications), 1991, 196-199.

(2) Roy, A. The Palettes of three Impressionist Paintings, National Gallery Technical Bulletin, Vol 9, 1985, 12-20. Available as pdf.