25 Best Sights in Provence, France

Just north of the vieille ville (Old Town) loop you'll find Cézanne's studio. After the death of his mother forced the sale of the painter's beloved country retreat, Jas de Bouffan, he had this atelier built and some of his finest works, including Les Grandes Baigneuses (The Large Bathers), were created in the upstairs workspace. But what is most striking is the collection of simple objects that once featured prominently in his portraits and still lifes—redingote, bowler hat, ginger jar—all displayed as if awaiting his return. The atelier is behind an obscure garden gate on the left as you climb Avenue Paul-Cézanne.

Part of the Culturespaces network of museums and monuments, this arts center is a jewel in the organization's impressively laden crown and is one of Aix's top cultural attractions. Given that the center is housed in the glorious Hôtel de Caumont, one of the city's most spectacular 18th-century mansions, it's no wonder that its period rooms are a joy to behold. It hosts two world-class art exhibitions per year in beautifully conceived spaces (the inaugural show was devoted to Venetian master Canaletto), and there are daily screenings of the film Cézanne in the Aix Region and a series of jazz and classical performances. The elegant gardens have been painstakingly restored to their original 18th-century layout, and you can enjoy a drink, light lunch, or dessert in the garden restaurant. The indoor Café Caumont is easily Aix's most elegant.

Once the École de Dessin (Art School) that granted Cézanne a second-place prize in 1856, the former priory of the Église St-Jean-de-Malte now showcases eight of Cézanne's paintings, as well as a nice collection of his watercolors and drawings. Also hanging in the galleries are 300 works by Bonnard, Picasso, Klee, Rubens, David, and Giacometti.

This extravagant Baroque villa was built in 1665 as a country house for the duke of Vendôme. Its position just outside the city's inner circle allowed the duke to commute discreetly from his official home on Cours Mirabeau to this retreat, where his mistress, La Belle du Canet, was comfortably installed. The villa was expanded and heightened in the 18th century to draw attention to the classical orders—Ionic, Doric, and Corinthian—on parade in the row of neo-Grecian columns. Inside the cool, broad chambers you can find a collection of Provençal furniture and artwork. Note the two, curious, giant Atlantes that hold up the interior balcony.

Built in 1761, this former grain market serves as a post office today—a rather spectacular building for a prosaic service. The frieze, portraying an allegory of the Rhône and Durance rivers, is the work of Aix sculptor Jean Chaste (1726–93); he also created the fountain out in front. That's a real Roman column at the fountain's top.

Many eras of architectural history are clearly delineated and preserved here. The cathedral has a double nave—Romanesque and Gothic side by side—and a Merovingian (5th-century) baptistery, its colonnade mostly recovered from Roman temples built to honor pagan deities. The deep bath on the floor is a remnant of the total-immersion baptisms that used to occur here, marking the forsaking of one's old life (going down into the water) for a new life in Christ (rising up from the water). Shutters hide the ornate 16th-century carvings on the portals, opened by a guide on request. The guide can also lead you into the tranquil Romanesque cloister next door, with carved pillars and slender columns.

The extraordinary 15th-century Triptyque du Buisson Ardent (Mary and the Burning Bush) was painted by Nicolas Froment in the heat of inspiration following his travels in Italy and Flanders, and depicts the generous art patrons King René and Queen Jeanne kneeling on either side of the Virgin, who is poised above a burning bush. To avoid light damage, it's rarely opened for viewing; check with the tourist office beforehand.

It's within these walls that Cézanne and his schoolmate Emile Zola discussed their ideas. Cézanne received his baccalauréat cum laude here in 1858 and went on to attend a year of law school to please his father.

In a striking modern edifice designed by architect Kengo Kuma in the Forum Culturel (which includes the Pavillon Noir dance center), the Darius Milhaud Music Conservatory celebrates the music of Marseille's native composer, who spent several years of his childhood in Aix and returned here to die. Milhaud (1892–1974), a member of the group of French composers known as Les Six, created fine-boned, transparent works influenced by jazz and Hebrew chant. Aix has yet to make a museum of his memorabilia, but you can visit during its eclectic series of student performances, jazz and classical concerts, and dance recitals.

Shaded by a double row of tall plane trees, the Cours Mirabeau is one of the most beautiful avenues anywhere, designed so its width and length would be in perfect proportion with the height of the dignified 18th-century hôtels particuliers lining it. You can view this lovely assemblage from one of the dozen or so cafés that spill onto the pavement.

Though the facade now bears 19th-century touches, this small 17th-century church still contains the center panel of the fine 15th-century Annunciation Triptych, attributed to the father of Jan Van Eyck, the greatest painter of the Early Netherlandish school. Some say the massive painting on the left side of the transept is a Rubens. The church is used regularly for classical concerts.

This 12th-century church served as a chapel of the Knights of Malta, a medieval order of friars devoted to hospital care. The church was Aix's first attempt at the Gothic style, and it was here that the counts of Provence were buried throughout the 18th century; their tombs (in the upper left) were attacked during the revolution and have been only partially repaired.

Deliciously thick with dripping moss, this 18th-century fountain is fed by Sextius's own thermal source. It seems representative of Aix at its artfully negligent best. In sunny Provence, Aix was famous for its shade and its fountains; apropos, James Pope-Hennessy, in his Aspects of Provence, compares living in Aix to being at the bottom of an aquarium, thanks to all the fountains' bubbling waters and the city's shady streets and boulevards.

Within a tiny square at a symmetrical crossroads in the Quartier Mazarin, this lovely 17th-century fountain has four graceful dolphins at the foot of a pine-cone-topped obelisk. Under the shade of a chestnut tree and framed by broad, shuttered mansions, it makes an elegant ensemble worth contemplating from the park bench.

Across from a commercial gallery that calls itself the Petit Musée Cézanne (actually more of a tourist trap), this 17th-century mansion once hosted Louis XIV—and now houses government offices. This means that during business hours you can slip in and peek at the fabulous 18th-century stairwell, decorated in flamboyant trompe-l'oeil. Pseudo-stone putti and caryatids pop into three dimensions—as does the false balustrade that mirrors the real one in stone.

Built between 1655 and 1678 by Pierre Pavillon, the Hôtel de Ville is fronted by a pebble-encrusted courtyard set off by a wrought-iron gateway. At the back, a double stairway leads to the Salle des Etats de Provences, the old regional assembly room (where taxes were voted on), hung with interesting portraits and pictures of mythological characters. From the window, look for the unmistakable 16th-century clock tower with an open ironwork belfry. The tree-lined square in front—where cafés set up tables right into the center of the space—is a popular gathering place.

This ornately decorated mansion houses the Institut d'Études Françaises (Institute of French Studies), where foreign students take French classes. During the Festival d'Aix in July, the hotel's courtyard is used for a series of classical concerts.

Cézanne's father bought this lovely property 1 km (½ mile) west of the center of town in 1859 to celebrate his rise from hatmaker to banker. The budding artist lived at the estate, whose name translates as "the sheepfold," until 1899 and painted his first images of Mont Sainte-Victoire—foundations of 20th-century art—from the grounds. Today the salons are empty, but the estate is full of the artist's spirit, especially the Allée des Marronniers out front.  The site is closed for renovations until 2025. Check with the central tourist office before visiting, as access has traditionally been via guided tours arranged through the office.

If you've just arrived in Aix's center, this sculpture-fountain is a spectacular introduction to the town's rare mix of elegance and urban bustle. It's a towering mass of 19th-century attitude. That's Agriculture yearning toward Marseille, Art leaning toward Avignon, and Justice looking down on Cours Mirabeau. But don't study it too intently—you'll likely be sideswiped by a speeding Vespa.

In the 17th-century Palais de l'Archevêché (Archbishop's Palace), this museum showcases a sumptuous collection of tapestries that once decorated the bishops' quarters. There are 17 magnificent hangings from Beauvais and a series on the life of Don Quixote from Compiègne. Temporary exhibitions highlight contemporary textile art. The main opera productions of the Festival d'Aix take place in the broad courtyard.

You'll find an eclectic assortment of local treasures inside this 17th-century mansion, from faience to santons (terra-cotta figurines) to ornately painted furniture. The building is lovely, too.

In between bouts at the roulette tables and slot machines of the Casino Aix-en-Provence, you can grab a bite at one of five restaurants or take in a floor show.

Of all the elegant squares in Aix, this one is the most evocative and otherworldly. Set back from the city's fashionable shopping streets, it forms a horseshoe of shuttered mansions, with cobbles radiating from a simple turn-of-the-20th-century fountain. It makes a fine setting for the chamber music concerts that are held here in summer.

This museum and memorial is France's only still-intact deportation camp, where 10,000 men, women, and children of 38 nationalities (2,000 of whom were eventually transferred to Auschwitz) were detained over three years, before the structure was repurposed as an armaments factory. Direct contact with internment areas, including sleeping and dining quarters and hiding places, makes for a rare immediacy. Traces of the many artists and intellectuals who were detained here, including Surrealist artists Max Ernst and Hans Bellmer and novelist Lion Feuchtwanger, can be found in the many artworks displayed (all made here), and the graffiti still vibrantly intact on the walls. At the conclusion of the visit, you retrace the deportees' path to a railroad wagon parked near the main building, a sobering reminder of a terrible chapter in French history.

Warm natural springs first discovered under the leadership of Sextius, the Thermes now house the glass walls of an ultramodern health spa. The small fountain in the interior marks the warm spring of the original 18th-century establishment. Today, the facility's offerings include a great gym, pressure showers, mud treatments, and underwater massages.