From the winter of 1968/1969, following a deep depression, Guy Renne returned "to the motive" to do what he called his "ranges of humility": sketches of the Alpilles then elaborated in the workshop in large drawings in India ink, pen or reed, sometimes on a light background of printing or colored washes, on the theme of Trees and Stones.

Careful observation of the wild nature of the landscapes, humanized of the villages, reveals to him a complex organization of the structures of trees and stones. He will translate it with an incorruptibly sure hand, incisively engraving a Provence of austere beauty, the fruit of his secret dialogue with her: an astonishing interlacing of arabesques gives the figure. The often dramatic character of anthropomorphic trees places the human in the heart of the plant, which paradoxically merges with the rocks, houses, low walls. Joint statics and dynamics often breathe organic life into stones and mineralize trees in a sort of symbiosis, through personal writing that has become "language".

But, Guy Renne would say it later: it is in the curves of the foliage, curves all feminine, that he will see the body of the Bathers appear.