A field of sunflowers in full bloom running to a low wooded horizon, with a post windmill standing on the ridge at upper right. The mill is the Angevin type — a timber body on a trestle, tiled cap, four skeletal sails — a feature of the Loire country and the detail that anchors the picture geographically.
Nearly two-thirds of the canvas is given to the crop itself, painted from just above the heads so the flowers recede in loose diagonal rows. Quéméré builds them from short, thick strokes of chrome and lemon yellow, each head registered by a single brown dab, with deep green foliage worked in beneath. Nothing is drawn; the effect comes entirely from the accumulation of touches and the way the yellow lifts against the green.
Behind, the middle distance is handled far more freely — blue-grey trees, a pale sweep of cut field, a scatter of red roofs — dissolving into a warm, high sky of cream and pale yellow.
This is Quéméré on the motif and at speed, which is where he is at his best. Painted in the post-Impressionist manner he has kept to since 1985.
