- oil on canvas . 81 х 115,5
- Ж-4103
- Пост. в 1920 из собр. М.П.Гренстранда (Петроград)
- Location in museum The Mikhailovsky Palace Open the panorama of the hall in the virtual tour
Room 20. Vasilyev- Period Late 19th century
- Category Landscape
- Keywords The Epoch of Alexander II (1855-1881) | лесной пейзаж | осень | Birds Share
Mastering the art of painting autumn scenery
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- Marsh in a Forest. Autumn
1850, Gatchina (St Petersburg Province) – 1873, Yalta
Marsh in a Forest. Autumn
- oil on canvas . 81 х 115,5
- Ж-4103
- Пост. в 1920 из собр. М.П.Гренстранда (Петроград)
- Location in museum The Mikhailovsky Palace Open the panorama of the hall in the virtual tour
Room 20. Vasilyev - Period Late 19th century
- Category Landscape
- Keywords The Epoch of Alexander II (1855-1881) | лесной пейзаж | осень | Birds Share
Fedor Alexandrovich Vasiliev was a master of lyrical landscape that died in the young age. Though he lived a short life, he left a number of excellent landscape paintings that combined accuracy with fine and profound lyricism of Russian nature. “Young, strong, with only 5 years of artistic experience, F. Vasiliev reached unbelievable heights” – wrote N. Ge. Vasiliev started to paint during the years of revival of realistic national landscape, and his works were soon compared to the paintings by renowned contemporary masters – I. Shishkin, I. Repin, and others. Vasiliev believed in the unlimited power of art, its ability to influence and transform people. He wrote once: “If you paint a picture consisting of just the mountains and the blue air…and if you express it just like it is in reality…I believe, that any person with an evil plan would put it aside in view of this delightful picture full of endless triumph and purity of Nature”. His landscapes are full of admiration of the beauty around and at the same time of a sinking feeling of bidding farewell.
In the beginning of 1872 Vasiliev began his work on the painting Marsh in the Forest. Autumn. Short before his death he wrote to I. Kramskoy: “Oh, a marsh, a marsh! My heart shrinks with a grave presentiment! Will I ever be able to breathe this free air, to feel this invigorating power of morning awakening in the steaming waters?” This painting was not created from nature – the artist created it on the basis of several studies. Despite it has never been finished, it shows artistic ambition and a desire to express and preserve clear colours. This excellent painting reveals for the viewers the heavenly land of marshes and birch trees that was so precious for the painter. Contemporaries viewed F. Vasiliev as a reformer who would up-end Russian landscape painting if not for his early death. His last work shows that he stood on the edge of new discoveries and revelations in painting. I. Kramskoy wrote to the artist about his impressions: “This is a real painting – there is nothing like it, it does not repeat anything, it has no slightest similarities to the works of any artist; this is something absolutely unique, isolated from any influences, staying apart from all modern trends in art. One thing I can say for sure: it is not perfect yet, but it’s ingenious”.
Autumn Rays New Master Painting
Here reclines nature in unmatched sublimity, a glow in the infinite glories of eternity, amidst a silence of deep unheard melody that gladdens our hearts and touches our souls.
Deepa Easwaran, like her internationally known father and guru, S.B.Easwaran, has already secured a place of eminence among the reputed painters in India. The main spring of inspiration in painting is the profound tranquility of nature for her guru S.B. Easwaran. Other inspiring factors are the silent nature, alone and away from the noisy world, providing themes for portrayal.
Imbibing her father’s art and style, an observer will discover that Deepa’s streams have a destination in their youthful energy. Deepa is able to develop new styles of landscape paintings, something that S.B.Easwaran achieved after long years of mediation and experimentation.
Nature in her expansive range and incredible variety, over land and water, in sun and shade, in spring, summer or autumn- is the subject of Deepa’s landscapes. Deepa is a master in the use of green in all its combinations and shades.
Next to green are the earth colors ranging from warm sienna to the powerful deep tones of umbers. She has gained considerable insight into the use of colours such as burnt sienna and golden yellow. Blue, violet or white will be mixed at various stages with other colours to give certain special effects that are peculiar to tropical forests.
Like S.B.Easwaran, Deepa has her distinctive authority in the use of light and shade. Realism is so intense in her painting that the viewer would like to walk into the picture and be an integral, inseparable part of it.
So far they have conducted around 80 exhibitions all over India including one in Dubai. They have done more than 20,000 paintings.
In the coming years, more landscapes of immortal grandeur will emerge through her golden fingers to bring happiness and tranquility to people all over the world.
