In 1905, André Derain spent the summer painting with Henri Matisse in the small fishing town of Collioure. The combination of the rich Mediterranean light and vibrancy of colour left a lasting impression on the young artist, who would return to the South almost every following year to comprehensively explore and paint the region. Chevet de la basilique de Saint-Maximin, executed during the 30s, reveals a deep veneration of Corot. Having long-since rejected the frenetic brushstrokes and vivid hues of Fauvism, this work is an excellent example of Derain embracing Neoclassical painterly tradition. Here, the small-scale work depicts an encounter between two dog-like figures within the Eastern grounds of The Saint-Maximin Basilica, the largest Gothic edifice in Provence. The left half of the picture is dominated by the verticality of a tree, it’s luminous russet foliage casting a long, clement shadow across the grounds of the Basilica. The heavy bulk of a cart rests by the trunk, juxtaposed with the fervid movement of the loosely-rendered dogs. The scene is suffused with the rich, reddened light characteristic of the South of France. In comparison to Derain’s earlier Fauve landscapes, the colour is more subdued, even melancholic; composed of modest, naturalistic tones of ochre, gold and umber. Softly punctuated by clumps of green foliage and gestural lines implying stone work, the walls of the basilica frame the composition, receding into the centre background of the painting to draw the eye to a dark archway, anchoring the painting. This compositional technique was frequently used in high Renaissance painting, revered by Derain.