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Crimea. Lombardy poplar
Robert Rafailovich Falk • Painting, 1915, 88×108 cm
Description of the artwork «Crimea. Lombardy poplar»
"The Crimea. Lombardy poplar" painted during the artist's travels to the Crimea. In this picture already felt the skillful use of figurative language and unique Falkowski lyricism of cubist landscapes. Cubism Falk is the ability to influence feelings, sensations of the viewer not at the expense of brightness and novelty of the method, and gently, gradually, but touching and riffling the most delicate strings of perception.
During this period, in the midst of the artist's fascination Cezanne what is clearly misleading landscapes: Falk (1, 2) and Cezanne (1, 2).
"Lombardy poplar" captures the contrast of clear crystal forms of flat roofs and dense, literally warm the volume of the trees, shining flicker to the rich color palette, harmoniously connecting the pink, red and grey roof, bright foliage and the soft blur of light walls. Shadows, glare and thick strokes create a rich painterly surface, convey a sense of indestructible matter.
Almost physical density of tree trunks artist reaches due to the "tilting" of the first perspective plan. The trunk of the poplar seems to stand out from the picture plane, it wants to touch to verify its volume. Falk said that all of life is woven of matter, so his paintings are very material – but not in the sense of "sense", they are material, as the material is all original, created from matter, untouched.
"She (matter – ed.) lives, breathes, sways, it forms all these items, and Dale, and sky, and air. And my whole consciousness and my sense, obviously, are also part of this matter. For me, the world is absolutely material but it is material that a single substance, color, light" this is the Manifesto of Robert Falk.
Front and rear landscape with poplar not "look" and "sound", common strokes and colours, scatter three-dimensional differences and unite in a single whole background is bright and light at the bottom and a rich, dense, dark to the top of the picture. Landscapes Falk fraught with internal tension and latent violence of energy, traditionally it expressed in color and sensation, and not in the plot, and, like his still life the feeling of grandeur and depth.
Author: Alain Esaulova
During this period, in the midst of the artist's fascination Cezanne what is clearly misleading landscapes: Falk (1, 2) and Cezanne (1, 2).
"Lombardy poplar" captures the contrast of clear crystal forms of flat roofs and dense, literally warm the volume of the trees, shining flicker to the rich color palette, harmoniously connecting the pink, red and grey roof, bright foliage and the soft blur of light walls. Shadows, glare and thick strokes create a rich painterly surface, convey a sense of indestructible matter.
Almost physical density of tree trunks artist reaches due to the "tilting" of the first perspective plan. The trunk of the poplar seems to stand out from the picture plane, it wants to touch to verify its volume. Falk said that all of life is woven of matter, so his paintings are very material – but not in the sense of "sense", they are material, as the material is all original, created from matter, untouched.
"She (matter – ed.) lives, breathes, sways, it forms all these items, and Dale, and sky, and air. And my whole consciousness and my sense, obviously, are also part of this matter. For me, the world is absolutely material but it is material that a single substance, color, light" this is the Manifesto of Robert Falk.
Front and rear landscape with poplar not "look" and "sound", common strokes and colours, scatter three-dimensional differences and unite in a single whole background is bright and light at the bottom and a rich, dense, dark to the top of the picture. Landscapes Falk fraught with internal tension and latent violence of energy, traditionally it expressed in color and sensation, and not in the plot, and, like his still life the feeling of grandeur and depth.
Author: Alain Esaulova
