“Ray Embankment in Basel in the Rain,” Alexander Nikolaevich Benoit – overview of the painting 
- Posted by Alexander Nikolaevich Benoit
- Museum: Private collection
- Year: 1896
Overview of the painting :
Ray’s Embankment in Basel in the rain – Alexander Nikolaevich Benoit. Goose, cardboard.
Alexander Nikolaevich Benoit is a great connoisseur and propagandist of art, a critic, theater figure, did not have an art education, but he is a very gifted creative person and his watercolors and gouashi always attract attention with their themes and mood.
“Ray Embankment in Basel in the Rain” is one such work. Back in 1896, Alexander Benoit traveled to Switzerland, and he was fascinated by autumn views of Basel, this ancient town located on the border of three countries: Germany, France and Switzerland. The city has many historical buildings and ancient monuments, and the Basel embankment and colorful landscapes fascinate the artist.
In 1902, while living in Paris, he draws a embankment from memory, passing on his memories and images.
On the far bank of the Rhine River, houses, new and old, are closely cluttered, and in the center – a beautifully preserved medieval building – Basel Cathedral.
So I would have pleased the appearance of an ancient, serene Swiss town if it had not been broken by the element of nature. Autumn clouds would hang in the sky, but a strong wind does not allow them to stand still and they rush into the distance. Water surface wrinkles and boils in the pouring rain. From the wind, tree branches beat and bend, the last leaves break down and fly into the unknown. In the foreground, along a sidewalk shining from puddles, two united elements – wind and water – drive lonely belated passers-by. And, hardly, umbrellas will help them, there is no salvation from the energetic streams of rain.
Against the background of houses and the cold river, these people look so homeless, bent and in a hurry to hide from the weather. The main tones of late autumn – gray, brown – give the picture an additional touch of sadness and sadness.
Benoit does this work in a manner characteristic of the beginning of the 20th century, in the style of post-impressionism. The author emphasizes great expressiveness and visibility for the viewer. And, perhaps, he achieved his goal.