log in
Enter site
Login to use Arthive functionality to the maximum
Oak
Petr Petrovich Konchalovsky • Painting, 1921, 84×75 cm
Description of the artwork «Oak»
"Oak" enters the cycle of Abramtsevo landscapes of Peter Konchalovsky. The artist often came to Abramtsevo for the summer. The landscapes of the 20s are written at the junction of following the Cezanne tradition and leaving it. There are many more from Cezanne. "Oak" was created in the traditional for the French post-impressionist colors - green, blue, ocher, smoothly flowing into each other. The main formative principle is the color, it is he who creates the volume of the green crown, the color allows you to feel the density of the trunks, the saturation of the crown and the weightlessness of the sky breaking through the leaves. At the same time from traditional landscapes in sezannovsky style The Abramtsevo cycle is distinguished by a kind of “history”. Konchalovsky does not just capture the manifestations of nature in the present, here a time perspective appears.
"I had a different attitude to nature now, not Sezannov, - recalled the artist. “I passionately wanted to create a vibrant landscape in which trees not just stick out, stuck into the ground (...), but logically grow out of the ground, like those of old masters, so that the viewer could feel their roots.” We do not see the base of the trees, it is not necessary: Konchalovsky admitted that the most important thing for him in the image of the garden, the forest is the silhouette of a tree in the sky, the silhouette of its branches. And indeed, due to the fact that the sky itself is the background for the oak tree, we can appreciate the virtuosity of branches and trunks, feel how density is replaced by transparency.
The powerful trunk in the foreground seems filled with natural juices. He is not just caught in the moment and fixed in the inviolability, he grows. That is the idea of the artist, it was important for him to bring potential development and growth to these landscapes: “I studied (trees in the garden - ed.) Not to transfer them all to canvas, but to, knowing them, it is easier to comprehend the logic of the structure of the trunks and branches, to understand their jumble… to fix in the mathematics of forms the very melody of this imaginary confusion, without at all disturbing, however, the accuracy of the ratios ”.
In the name of the picture the name of the tree is used in the singular, but looking at this landscape, we see not one oak tree, but assume the forest. Konchalovsky considered this an important indicator of a good landscape - not to write all the trunks and branches, but to give one tree, a couple of trunks, but to make it so that the whole grove appeared before the viewer.
Author: Alain Esaulova
"I had a different attitude to nature now, not Sezannov, - recalled the artist. “I passionately wanted to create a vibrant landscape in which trees not just stick out, stuck into the ground (...), but logically grow out of the ground, like those of old masters, so that the viewer could feel their roots.” We do not see the base of the trees, it is not necessary: Konchalovsky admitted that the most important thing for him in the image of the garden, the forest is the silhouette of a tree in the sky, the silhouette of its branches. And indeed, due to the fact that the sky itself is the background for the oak tree, we can appreciate the virtuosity of branches and trunks, feel how density is replaced by transparency.
The powerful trunk in the foreground seems filled with natural juices. He is not just caught in the moment and fixed in the inviolability, he grows. That is the idea of the artist, it was important for him to bring potential development and growth to these landscapes: “I studied (trees in the garden - ed.) Not to transfer them all to canvas, but to, knowing them, it is easier to comprehend the logic of the structure of the trunks and branches, to understand their jumble… to fix in the mathematics of forms the very melody of this imaginary confusion, without at all disturbing, however, the accuracy of the ratios ”.
In the name of the picture the name of the tree is used in the singular, but looking at this landscape, we see not one oak tree, but assume the forest. Konchalovsky considered this an important indicator of a good landscape - not to write all the trunks and branches, but to give one tree, a couple of trunks, but to make it so that the whole grove appeared before the viewer.
Author: Alain Esaulova
