Painting “Golden Autumn”, Vasily Dmitrievich Polenov – description

Painting “Golden Autumn”, Vasily Dmitrievich Polenov – description
Painting "Golden Autumn", Vasily Dmitrievich Polenov - description - 1

  • Author: Vasily Dmitrievich Polenov
  • Museum: Museum-Reserve B. D. Polenova
  • Year: 1893

Overview of the painting :

Golden autumn – Vasily Dmitrievich Polenov. 1893. Oil on canvas. 77×124 cm

   A born landscape painter, Vasily Dmitrievich Polenov, made a huge contribution to the development and evolution of this genre. The wonderful picture “Golden Autumn” refers to the second period of the landscape work of the painter. The thing is that all the landscape works of Polenov critics are divided into two stages – until the mid-1880s and after.

   Having been carried away by the landscape in France, on the creative expedition that Polenov conducted with Ilya Repin, the master at first demonstrated an individual approach to this genre – the widest capenter, freshness, color saturation, naturalness, a clear clear drawing and a verified composition. Later, the author refused a deliberate task, creating poetic masterpieces full of love for nature and admiration for the outside world. This is the Golden Autumn canvas written in 1893.

   Why is this picture so attractive even after more than a hundred years from the moment of creation? Perhaps the answer to this question lies in the author’s personal preferences. As you know, autumn was sometimes beloved for Polenov, and the author had a special relationship with the Oka, which is depicted in the picture – the author lived on the banks of this river for more than twenty years, without ceasing to admire and admire her. Back in 1890, the artist moved to the Borok estate in the village of Bekhovo, and three years later this picture will appear.

   The composition of the picture is subordinated to the geometric line – the space is organized using an arc. Such a arc-shaped image of the river is a characteristic Polenovsk technique that forms the composition. The author refused the usual comparison of the two plans, long and front, leaving only a wide scope. The viewer presents himself standing on the top of some hill, and from this point in front of him the magnificent colorful September landscape gazedly extends. Moreover, the locals easily recognized this place – the master portrayed everything truthfully and realistically. The view of the Eye opens from the opposite side of the Eye Mountains, and in the upper right corner you can notice a white bell tower gleaming in the sun.

   A wide panoramic U-turn does not immediately “disclose” all the cards – rather, our gaze follows the river, rushing further and further, deep into the picture. Obeying the intricate trajectory given by the author, the viewer gradually comprehends all the delights of the opening species, which shows us the riot and variety of autumn colors.

   Despite all its saturation and diversity, the color of the picture is surprisingly harmonious. In itself, the “various” autumn finds a talented poetic implementation within the canvas, thanks to the author’s brilliant instinct. The general color is yellow in all its tonal variations: from soft, fucking to solemn gold. Yellow birch trees flow in rows, but through their thick, catchy outfit looks through the dark green foliage of some other tree with sprawling branches. Most likely, this is an oak that has not yet been touched, autumn is not painted sometimes, and it still carries an echo of an irrevocably departing summer. Green young Christmas trees are diluted with frantic flavor and gently slanted unevenly in an open meadow along the protoptan track, and a gentle sandy shore on the opposite side of the river.

   A noble comparison of yellow and green is crushed by blue color. He is both in the bend of the Oka, and in the sky, covered with small islands of lush clouds, and in the thin haze line of the horizon, giving the picture airiness, weightlessness.

   The sky in this work deserves special attention and detailed analysis. The artist managed to “lay” all the shades here and convey their flickering – from gray tones of clouds to light blue of the sky and pink lines born of the gleams of the sun. All this is subject to its rhythm, and it seems that the sky is devoid of statics, and now the eyes will begin to notice the smooth movement.

   An interesting image is the smoothness of the river. The mirrored ribbed surface was able to absorb all the colors of the canvas. Here is the noble blue of the river itself, and the reflection of the yellow leaves of the trees, and the duplication of the sky, which thereby “captures” the composition.

   Polenov was known by the creator of the “intimate” landscape, in the concept that all the natural beauty that opens in his paintings is somehow close to his heart, dear and understandable. It seems that any viewer, peering into the work of Polenov, will remember his story – everyone, for sure, had his own favorite sloping shore in life, a birch grove, a dusty path trampled by riders, a yellowed meadow, a village church, such a day flooded with sun, which we carefully keep in the shower.

   It is this warm feeling, born of the contemplation of the landscapes of Polenov, that makes his work so attractive and even hypnotizing. And also the unconditional genius of the Polenova-Zhivo-pisets and his sincere unlimited love for the Russian land.