The Chumatsky tract in Mariupol, Quinji – overview of the painting

The Chumatsky tract in Mariupol, Quinji – overview of the painting
The Chumatsky tract in Mariupol, Quinji - overview of the painting - 1

  • Posted by Arkhip Ivanovich Quinji
  • Museum: Tretyakov Gallery
  • Year: 1875

Overview of the painting :

The Chumatsky tract in Mariupol is Archip Ivanovich Quinji. 1875. Oil on canvas. 106×213 cm

   The painting “The Human Tract in Mariupol” was specially written by Archip Quinji for the IV exhibition of editorial artists. The beginner painter tried to focus on the realism of the plot, and he quite succeeded.

   The plot of the artist was familiar – Quinji portrayed his native land. Mariupol was for the master a native city, a city of childhood, and according to the Chumatsky tract, which runs in the southern steppes, he went to Theodosius. The name of the road was given by merchants, that is, the plague – their carts were demolished between Mariupol and Primorsky Theodosius, transporting various goods for fairs, especially fish and salt.

   The picture shows a busy road along which carts harnessed by oxen move. The first word that comes to mind when contemplating work is dampness. Wet road, turned into dirt, carts and animals shining from rainwater, gloomy heavy sky. The one who sees involuntarily causes sympathy and internal protest: only the need to feed his families drives the plague onto a wet tract.

   Despite the apparent monotony of the plot, a careful look will definitely snap the color content of the work. Especially when comparing the picture with previous Quinji canvases. There are complex coloristic solutions, namely, transitions from cold shades to warm ones. In the picture found applications brown, green, white, yellow and blue tones.

   As usual with Quinja, the sky acts as a separate hero in the picture. Heavy low clouds with noticeable enlightenment in the middle, as if “pressing” on the plot participants, create a feeling of doom and hopelessness.

   This work significantly brought its author closer to the Partnership as a traveler, for whom such a social note was very pretty. Quinji, who had been looking for support for a long time, was glad of such a rapprochement. However, all his subsequent work will show that with the accusatory art of the mobile workers, who pose acute social issues, the master was out of the way. He wanted to look for beautiful in the banal, inspiring in the mundane, and completely switched to the narrative poetic landscape.

   In fairness, I want to note that the “Crazy Tract” became not only the stage work of Quinji – collecting positive feedback, the picture gave confidence to the master, a native of a simple family. Very soon he will become stronger in spirit, believe in himself as a specialist, and leave the courses of the Academy of Arts in order to set off for free swimming.