Arhip Kuindzhi – Elbrus day
1898-1908
На эту операцию может потребоваться несколько секунд.
Информация появится в новом окне,
если открытие новых окон не запрещено в настройках вашего браузера.
Для работы с коллекциями – пожалуйста, войдите в аккаунт (open in new window).
Поделиться ссылкой в соцсетях:
COMMENTS: 2 Ответы
Идеально изображены раскаты.
Спасибо за подборку, Куинджи один из моих любимейших художников, уникальный, неповторимый мастер светописи.
You cannot comment Why?
A band of lighter ochre and gold traverses this lower section, acting as a visual pathway towards the distant mountain. This golden stripe doesnt appear natural; it seems more like an intentional element designed to draw the viewer’s eye upward. The artist employed thick impasto in these areas, adding physicality and emphasizing their importance within the scene.
Above this band rises a range of lower hills or foothills, also painted with textured brushwork but utilizing slightly lighter shades of brown and tan. These intermediate forms serve as a transition zone between the foreground and the monumental peak that occupies the upper portion of the painting.
The mountain itself is depicted in stark white, its form sharply defined against the blue-grey sky. The artist has captured the snow-covered summit with an almost sculptural quality, emphasizing its sheer size and imposing presence. A few wisps of cloud are visible in the sky, softening the otherwise rigid geometry of the scene.
The dark framing border contributes to a sense of isolation and containment, further highlighting the grandeur of the mountain. The overall effect is one of awe-inspiring power and remoteness. Subtly, there’s an implication of human insignificance when confronted with such natural forces; the landscape feels vast and untouched, suggesting a place beyond easy comprehension or control. The deliberate use of color and texture creates a mood that is both majestic and somewhat melancholic, hinting at themes of solitude and the sublime.