The Bridge at Labastide du Vert in Spring 1911

Henri Martin built 'The Bridge at Labastide du Vert in Spring' from little strokes of paint. I get the sense that he was trying to show, not tell, us about springtime. The textures here are so physical; the strokes of ochre and yellow on the bridge make it feel rough, solid, and warm. The light is gentle but pervasive. It's like Martin is building up the image from molecules of colour. And then there's that figure, perched on the bridge. They're almost swallowed up by the landscape, a tiny fleck of dark amidst all this dappled light. But that placement also makes the figure integral to the painting, and an important part of the composition. You can see a similar effect in the work of Signac. But where Signac is sharp, Martin is fuzzy. Ultimately, this work shows how painting isn't just about representing a scene, but about creating a feeling and atmosphere, a moment suspended in time.