In 1972 Riopelle bought an airplane hangar in Saint-Cyr-en-Arthies, France where he sets up a mezzanine and a small, well-heated studio, dedicated to drawing the poetic universe that he sees from the window above. Celebrating in his own way the centenary of Impressionism (1974), he projects a “calendar” which evokes the transformations of the landscape from month to month, the focal point of the veduta remaining the squat bell tower of the village and the roofs of a block of houses. Their straight lines emerge from the arching jumble of branches. Les Mois de Saint-Cyr will remain as lithographic proofs. Fortunately, taking up the concept, Galerie Lelong printed in 1985 an album of six color lithographs, Les Saisons de Saint-Cyr-en-Arthies (including No. 6 entitled Les Ravenelles), then in the same vein eight new lithographs devoted to Vétheuil, mainly at the Notre-Dame church. It is indeed a nod from Riopelle to Monet