The painting “Ottepel”, 1887, Alexey Kondratievich Savrasov – overview
- Posted by Alexey Kondratievich Savrasov
- Museum: Tretyakov Gallery
- Year: 1887
Overview of the painting :
Ottepel – Alexey Kondratievich Savrasov. Paper, watercolor, pencil. 27 x 48 cm
The painting was written in 1887 on the slope of A. K. Savrasova. During this period, dissatisfaction and depression turned him from an intelligent and sophisticated person into an unhappy and sick person with alcoholism. Gloomy motives are noticeable in this work, the author’s hourly willingness to fall into despair is noticeable, but there is also a faint glimmer of hope, which, alas, was not destined to play a saving role in his life.
However, Aleksey Kondratievich always masterfully conveyed the beauty of Russian nature: and it doesn’t matter whether it is a joyful, encouraging beauty or a gloomy beauty. After all, probably, there is no more artist in Russian painting who could show with such art that beautiful that is hidden at any time of the year. Especially Savrasov loved early spring, unattractive, according to many landscape painters. In this picture, thawing occurred in the winter, but the end of winter and early spring are so similar that the author’s love should obviously extend to both periods.
Using the example of the picture “Ottepel”, the author’s incomparable ability to transmit the slightest half tone of the pre-spring mood is visible.
The work was written during the period of creative maturity, when Savrasov already abandoned his love for the classical romantic landscape and concentrated on perpetuating Russian nature in its pristine and non-tasty beauty.
On the canvas, little is said about the approach of spring, except that a small but threatening to grow puddle in the middle of a snow-covered and slightly deserted plain. The hut, the church, still bare trees hide inside themselves the vital energy that threatens to break through soon, but is waiting for this convenient minute.
The painter is distinguished by an amazing ability to turn the most prosaic landscape into an uncomparable masterpiece in its harmony. With a sense of pinched, but in its own sweet sadness, the master transfers the experience of contact between souls and the human (the divine part is symbolized by the church, and the earthly part is symbolized by end, home) and natural.