Harris – outskirts of toronto 1918
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:
You cannot comment Why?
The artist employed a limited palette, primarily consisting of yellows, oranges, browns, and muted purples. This restricted range contributes to a sense of warmth and perhaps even melancholy. The application of color is not naturalistic; instead, hues appear intensified and flattened, creating a somewhat dreamlike quality. Light seems to emanate from within the buildings themselves rather than being depicted as an external source.
Beyond the immediate cluster of dwellings, a densely packed row of houses stretches into the distance, diminishing in size and detail. These structures are less defined, appearing almost as a collective mass against the backdrop of a hazy sky. A rough track or path leads towards this distant settlement, drawing the viewers eye deeper into the scene.
Several domestic animals – chickens – are scattered across the foreground, adding a touch of everyday life to the composition. Their presence suggests a rural setting despite the clear indication of urban proximity. The overall impression is one of quietude and isolation; a place where human activity exists in close conjunction with nature, yet also feels somewhat removed from the bustle of city life.
Subtly, theres an underlying tension between the solidity of the buildings and the fluidity of the brushwork. This contrast might allude to the precariousness of existence on the edge of progress or the fragility of a community facing change. The painting doesn’t offer a celebratory view; instead, it conveys a sense of observation – a quiet contemplation of a place undergoing transformation.