1903 -1908 · Lagoon, San Trovaso and neo-impressionist watercolor

In Venice, Cross lightens his method: sails, bridges and sunsets are broken down into transparent touches where water and sky exchange colors.

Henri-Edmond Cross traveled to Venice in 1903 then returned there in 1908. Established since 1891 in Saint-Clair, near Lavandou, he then fully mastered the neo-impressionist language developed alongside Signac. The lagoon offers him a pattern different from the Var coast but just as favorable to reflections. In Scène marine, boats near Venice, the light sails, water and distant architecture are suggested by the watercolor placed on a graphite drawing. San Trovaso Bridge and Rio San Trovaso shift attention to narrow passages, facades and boats. The Sunset over the lagoon brings warm tones of the sky and complementary colors of the water into dialogue. Cross does not mechanically apply a regular dot. On paper, it leaves white reserves, widens the keys and allows light from the support to circulate. The Musée d'Orsay preserves several Venetian sheets from 1903, including the canal with sailing boats and the Salute. They show a quick but structured observation. Bridge, sail and bell tower remain readable while dissolving in the general agreement. Venice thus becomes a watercolor laboratory: the science of contrasts meets the mobility of water and prepares an ever more autonomous color. The "Venice of Henri-Edmond Cross" selection remains readable while dissolving into the general agreement. Venice thus becomes a watercolor laboratory: the science of contrasts meets the mobility of water and prepares an ever more autonomous color. The "Venice of Henri-Edmond Cross" selection notably compares Scène marine (Boats near Venice) - Henri et San Trovaso Bridge, Venice - Henry. His reading favors drawing.

Cross does not paint Venice stone by stone: he collects the veils, reflections and white of the paper until the lagoon becomes light.