Paris by night. 1911 Konstantin Alekseevich Korovin (1861-1939)

The canvas presents a nocturnal urban scene, dominated by a pervasive sense of twilight and obscured visibility. Here we see a broad avenue receding into the distance, flanked on either side by dense foliage that obscures any clear delineation of buildings or structures beyond the immediate foreground. The composition is structured around a central axis defined by the street itself, drawing the eye towards a vanishing point shrouded in shadow.
The most striking element is the use of color and light. Patches of intense yellow-orange illumination punctuate the darkness, suggesting gas lamps or other artificial sources of light that cast a warm glow on the figures populating the avenue. These luminous areas are not evenly distributed; instead, they appear as concentrated bursts, creating pools of brightness amidst the surrounding gloom. The application of paint is loose and expressive, with visible brushstrokes contributing to a sense of movement and atmospheric instability.
The human presence is conveyed through indistinct silhouettes – individuals strolling along the avenue, their forms blurred by distance and shadow. They are not individualized; rather, they function as generic representatives of urban life, absorbed in their own activities within this nocturnal setting. The figures appear somewhat detached from one another, contributing to a feeling of anonymity and perhaps even isolation despite their proximity.
The overall effect is less about precise representation than it is about conveying an emotional response to the experience of being present in a bustling city at night. There’s a palpable sense of mystery and ambiguity; the darkness obscures details, inviting speculation and imaginative interpretation. The painting seems to explore themes of modernity, urban alienation, and the subjective perception of reality under artificial light. It suggests a world where clarity is elusive, and experience is filtered through layers of shadow and atmosphere.

The signature in the lower right corner indicates the work was created in 1911.