Recognizing a kindred spirit in Cézanne, Marchutz took an initial trip to the artist's native Aix-en-Provence, France in the summer of 1928 and emigrated there permanently in 1931.

After the war, however, Marchutz reapplied himself to drawing and painting, in addition to developing a unique method of producing lithographs which he would refine for the rest of his life.

Parallel to his own artistic endeavor, Marchutz became a specialist in the works of Cézanne and maintained close relationships with major art historians and scholars, including John Rewald, Lionello Venturi, Fritz Novotny, and Adrien Chappuis.

Even at an early age, Marchutz concerned himself with spiritual subject matter, and his first forays into painting and lithography already display several characteristics that would become prominent in his later work.

Writing about a painting he had purchased, Max Reinhardt noted that "the principal agreement of the picture resides in the happy simplification and the configuration of the figures between themselves.

Three years later, after permanently relocating, he spent much of his time executing drawings of the town's streets, while continuing to produce paintings of the surrounding countryside.

For most of the following six years, he took occasional breaks from his poultry-farming chores to execute drawings of human figures in pencil, usually inspired by his reading of passages from the New Testament.

Venturi wrote that "the images created by the artist appear on these pages as though revealed in the atmosphere, borne by a wind which, some time ago, was called astonishment.

He achieves in the same way, before a landscape, the fundamentals of mass, light and color between air, ground and buildings, and finally, at the end of a patiently followed road, arrives at an extreme purity.

[7] At the same time, John Rewald noted that Marchutz "reduces the elements of reality to their most essential signs...[and] hovers on the border of abstraction though never abandoning the sharp observation of his subject."

He also remarked on Marchutz's ability to "create images where a few delicate hues evoke sites or figures, the economy of means leading him towards a sort of poetry of suggestion whose starting point is nature and whose result is our enchantment.