This work is taken directly from Margaret’s study of Cezanne, the work of this popular artist often employed as a source for students to experiment with colour and fauvist colouring. The composition appears to be taken directly from a Cezanne work, his Mont St Victoire a favourite and repeatedly portrayed, his trace of colour as the light changed across days and seasons, documented from his studio in the south of France. Margaret dashed off this work along with other studies by Cezanne, including a direct copy of a portrait of his wife.

While art students are often encouraged to look across the work of most of the major artists, Margaret was drawn to the work of Cezanne, the colour, patterning and commitment to a subject of particular interest.