Ravines. 1880, 22, 3h31, 5 Ivan Ivanovich Shishkin (1832-1898)

The drawing presents a vast, undulating landscape dominated by deep ravines and rolling hills. The artist has rendered the scene in charcoal or graphite, utilizing a dense network of lines to delineate form and texture. A palpable sense of depth is achieved through overlapping planes and varying line weights; closer elements are indicated with heavier, more detailed strokes, while distant features recede into lighter, sparser markings.
The foreground is characterized by a steep descent into the ravines, depicted with intricate cross-hatching that suggests both the ruggedness of the terrain and the play of light and shadow. The vegetation appears as a mass of tangled lines, conveying an impression of wildness and untamed nature. A winding path or track cuts through this foreground, hinting at human presence but not explicitly defining it.
The middle ground reveals a series of interconnected ravines, each carved into the earth with considerable force. These depressions create a complex topography that draws the eye across the composition. The artist has skillfully used linear perspective to suggest distance; the ravines diminish in size and clarity as they recede towards the horizon. Scattered trees are sparsely placed throughout this area, adding verticality and breaking up the horizontal expanse.
The background is defined by a distant ridge line that merges with the sky. Here, the artist employs very light strokes to suggest atmospheric perspective, blurring the details of the landscape and creating a sense of infinite space. The sky itself is rendered with delicate, almost imperceptible lines, evoking a feeling of vastness and openness.
Beyond the immediate depiction of topography, the drawing seems to explore themes of erosion, time, and the power of natural forces. The ravines themselves suggest a history of geological activity, hinting at processes that have shaped the landscape over long periods. The absence of human figures or structures reinforces the sense of isolation and emphasizes the dominance of nature. There is an underlying melancholy conveyed through the monochromatic palette and the starkness of the terrain; it speaks to the impermanence of things and the relentless march of time upon the earth. The work might be interpreted as a meditation on the sublime – the awe-inspiring power and beauty of nature, tinged with a sense of human insignificance.