Melting snow, oil on canvas, 71. 8 x 57. 8 cm. Pierre lassonde collection. “in melting snow, as in the majority of cullen's paintings from the 1920s onwards, the paint is applied with greater precision. The artist abandons the large hatched touches that made his colors vibrate, and which were found in the sky of coupeurs de glace, longueuil. His style therefore moves away from the impressionism which characterized his previous production. If it is true that ice cutters, longueuil is closer to the works of monet and his colleagues, we nevertheless note that cullen is far from having adopted their style entirely. The touch is only fragmented in the sky. In the other parts of the painting, the shapes, although painted in spots, appear much more solid, thus creating an impression of depth between a clearly defined foreground and a more blurred background. This characteristic is not found in the works of the french impressionists, where the entire composition is generally broken up by light. This can be explained by the fact that cullen's approach differs significantly from theirs. As sandra paikowsky says of another work in the ice cutter series, “it suggests a poetic rather than an objective response to light. ” » - sarah mainguy, holder of a master's degree in art history from uqam. Date: circa 1930.
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