Sign in

Christopher Coenen

@chrixcoenen.bsky.social
3.9K followers 8.1K following 7K posts

posting art with ALT text sometimes own photos & history, politics or technology assessment #SpringerpresseEnteignen #XVerbieten MASTODON: todon.eu/@tsetse Pic: me, Bauhaus exhibition Berlin, armchair by Marcel Breuer, mask by Oskar Schlemmer

PostsRepliesMedia
Christopher Coenen @chrixcoenen.bsky.social · 23h
Ivan Shishkin, "In the park" (1897)
from artchive:
The artwork titled “In the Park,” created by Ivan Shishkin, embodies the artistic movement of Realism and belongs to the genre of landscape painting.

The artwork presents a serene and detailed depiction of a forest park. The artist has rendered towering trees with meticulous attention to the interplay of light and shadow, capturing the essence of the natural environment with remarkable precision. The trees, with their varying textures and densities, create a sense of depth as they recede into the background, enveloping the viewer in the tranquility of the wooded scene. The foreground features a reflective body of water, adding a sense of calm and balance to the composition. The use of light and shadow highlights the robustness of the trees and the delicate foliage, contributing to the overall realism and immersive quality of the artwork.
1184
Christopher Coenen @chrixcoenen.bsky.social · 21/09/2026
There is now more information on againstoligarchy.org : Topics, questions and materials for discussion, some speakers, and a general statement concerning the teach-in:
32114
Christopher Coenen @chrixcoenen.bsky.social · 15/09/2026
#THIEL SHALL NOT PASS! #BERLIN 9/24, 5pm: Against #Thiel and his & #Trump 's Fifth Column in the EU !!! Alle raus am 24.9., 17:00, um in #Berlin gegen #Thiel und die Fünfte Kolonne von ihm, #Trump, #Musk & Co. ( #HaltDieFresseSpringerpresse , #noAfD) zu demonstrieren !!! 👉🏻 thielshallnotpass.org
48138
Christopher Coenen @chrixcoenen.bsky.social · 15/09/2026
Caspar David Friedrich, 'The lonely tree', or 'Village landscape in morning light' (1822)
https://en.wikipedia.org/wiki/The_Lonely_Tree
Further names: 'A green plain' and 'Harz landscape'
110713
Christopher Coenen @chrixcoenen.bsky.social · 07/09/2026
:)
A concerned king looks down from a tower at a protesting mass and a young man next to him says: Oh, you don't need to fight them - you just need to convince the pitchfork people that the torch people want to take away their pitchforks.
062
Christopher Coenen @chrixcoenen.bsky.social · 07/09/2026
Zygmunt Waliszewski, 'Don Quixote in an armchair' (1934)
Light clothing, no trousers or shoes, reading a book – a huge tome – with two more huge tomes underneath the armchair. On the right-hand side of the colourful painting, a cat near the knight, and in the background, two people in the doorway looking at him; he appears to be gesturing to urge them to leave.
1195
Christopher Coenen @chrixcoenen.bsky.social · 07/09/2026
As regards the state election in Saxony-Anhalt, it is worth bearing in mind that there are fewer eligible voters in S-A than in Berlin (where the Berlin state election is due to take place next week).
Lighted windows in the night, whoch show "Fuck AfD"
1368
Christopher Coenen @chrixcoenen.bsky.social · 26/08/2026
The end of the East Bloc and the Soviet Union
Gely Korzhev, 'Dump' 
In the dump a Lenin head (bust), red banners, a red star with hammer and sickles, plus a shou, empty bottles and an empty can and old newspapers
090
Christopher Coenen @chrixcoenen.bsky.social · 25/08/2026
Charles Burton Barber, 'Gelert' (1884)
Description based on https://pure.plymouth.ac.uk/ws/portalfiles/portal/38501012/2017Robson10127293phd_edited.pdf : 
Far from reflecting the tragic moral of the story of Gêlert (as earlier artists had done), Burton instead portrayed Gêlert in a different light. By omitting the sad ending entirely, Burton focused his painting entirely on the relationship between the dog and the child. Gêlert tenderly licks the body of the infant he so faithfully saved, and the child himself sleeps peacefully on the floor covered with a sheepskin. Next to the overturned cradle in the background lies the dead wolf. The child sleeps undisturbed, unfazed by the violent scene that has just unfolded. While Barber makes it clear that a fight between the dog and the wolf has just taken place, the consequences of the violence are downplayed. There is no blood visible on Gêlert or on the walls, and the depicted violence is limited to the wolf’s body. Nevertheless, the wolf is once again partially obscured, and only a small amount of blood is visible flowing from its muzzle—symbolising the wolf’s intent. Given such a scene, the audience would likely find it hard to believe that Gêlert’s owner could ever misinterpret this situation, or to doubt that Gêlert himself aggressively overpowered the lupine intruder.
1305
Christopher Coenen @chrixcoenen.bsky.social · 25/08/2026
Chaïm Soutine, 'The houses' (circa 1920-1921)
A dense cluster of mainly white buildings with unusual roofs bends and leans wildly at gravity-defying angles. Spatial depth is largely flattened. The houses warp into one another, creating an interconnected mass that fills the canvas. The ground, hills, surrounding and sky vegetation look weird too. The composition evokes motion.
1243
Christopher Coenen @chrixcoenen.bsky.social · 22/08/2026
Ivan Marchuk, 'Giant pears'
The giants pears in the foreground, in a meadow. 
The meadow is bordered by woodland. 
About the artist: https://www.youtube.com/watch?v=i3Uj-WhAyrM
040
Christopher Coenen @chrixcoenen.bsky.social · 21/08/2026
Marianne von Werefkin, 'Friday evening (Synagogue)' (1909)
Vivid colours. People, whose faces are not shown in detail and who are wearing warm clothing, are walking from left to right towards the open doors of the synagogue, part of which is visible on the right. In the background, houses can be seen at the foot of a hill, which probably has a steep slope that is very red. Very little of the sky is visible. The ground is largely covered in snow.
1183
Christopher Coenen @chrixcoenen.bsky.social · 19/08/2026
Christoffer Wilhelm Eckersberg, 'Ulysses fleeing the cave of Polyphemus' (1812)
https://artmuseum.princeton.edu/art/collections/objects/41415
1113
Christopher Coenen @chrixcoenen.bsky.social · 19/08/2026
Henry de Groux, 'Revolution' (1889)
https://vlaamsekunstcollectie.be/en/collection/2025-p
A densely packed crowd marching from left to right across the picture. Some of the faces of the people in the background, in particular, look grotesque. Many are carrying flags or spears. The crowd, which includes women, almost completely fills the picture. In the crowd, someone is holding aloft a sign on a pole bearing the word ‘Revolution’.
0104
Christopher Coenen @chrixcoenen.bsky.social · 19/08/2026
West Berlin 70s style
The band Ton, Steine, Scherben walking thorugh a street in Berlin, dressed very 70s
2111
Christopher Coenen @chrixcoenen.bsky.social · 18/08/2026
Max Ernst, 'Napoleon in the wilderness' (1941)
The surrealist painting depicts a scene set against a clear, bright blue sky with hints of white clouds near the horizon. The foreground is a rocky, textured terrain covered in low but dense, dark green and brown vegetation that appears somewhat alien and overgrown. Behind is the sea, signaling it shows St. Helena (https://www.moma.org/collection/works/78423). 
In the left of the frame, a figure stands on a rocky outcrop. This figure is tall and slender with an elongated headgear that resembles Napoleon’s hat. It is draped in a brown, textured garment that covers its body, with a hint of yellow fabric at the knees, and alluding as well to Napoleon’s clothing style. The figure has its arms crossed. Its skin is a muted brown tone, and its features are indistinct, contributing to its enigmatic appearance.
Dominating the center of the image is a tall, slender, and rough-textured pillar. It is adorned with an array of small, colorful, organic-looking growths, giving it a weathered and almost alive appearance.
To the right, a more elaborately dressed female figure stands. This figure is adorned in a voluminous, flowing garment. The fabric appears rich and textured, with ruffled or feathered edges. The figure's head is crowned with an ornate, elaborate headdress. A portion of its body, a pale, smooth torso with exposed breast, is visible beneath the drapery, creating a stark contrast with the surrounding textures and colors. The figure's face is turned downwards, with its eyes closed or looking away, adding to the melancholic or contemplative mood. In her right hand, she holds a strange device, vaguely reminiscent of a saxophone or a huge pipe but with a demonic head at the lower end.
In the middle ground, a calm, blue sea stretches towards the horizon. Visible to the right of the central pillar, a peculiar sea monster with a rounded body, a beak-like mouth and huge tail in the form of a stylized, light green plant with broad leaves emerges from the water.
03911
Christopher Coenen @chrixcoenen.bsky.social · 18/08/2026
Illarion Pryanishnikov, 'French retreat in 1812' (1874)
The broken body postures and facial expressions of the French soldiers reflect the disaster. They walk in a foggy winter landscape and are accompanied by Russian peasants, two women and one man, two of them with forks.
0143
Christopher Coenen @chrixcoenen.bsky.social · 18/08/2026
Friedrich Hottenroth, 'French Republicans on the left bank of the Rhine' (1877)
Woodcut, coloured at a later date.

The picture shows an event in the Republic of Mainz (1792/93) on 3 November 1792: people are dancing around a tree of liberty, including a man carrying another man on his shoulders. On the right, a couple is watching the scene. Horsemen can be seen around the dancers, and hills and buildings are visible in the background.  

From: W. Zimmermann, Illustrated History of the German People, Vol. 3, Stuttgart (G. Weise) 1877.

Source: AKG17802841792-11-031877
1104
Christopher Coenen @chrixcoenen.bsky.social · 17/08/2026
Onchi Kōshirō, 'Impression of a Violinist (Portrait of Suwa Nejiko)' (1947)
https://pages.uoregon.edu/jsmacollections/home/artists/onchi-koshiro-1891---1955-/impression-of-a-violinist-portrait-of-suwa-nejiko-.html
https://www.collectingjapaneseprints.com/available-prints/p/sosaku-hanga-koshiro-onchi-portrait-of-suwa-the-violinist
1172
Christopher Coenen @chrixcoenen.bsky.social · 17/08/2026
Vasily Shulzhenko, 'Pipe', 'Fife', or 'Little Reed Pipe' (1990s)
Melancholic, post-catastrophe atmosphere. Against the backdrop of old buildings in a city or twon submerged by floodwaters, a solitary man, taking more space than one fourth of the entire painting, sits in the forefront in a boat. He stares into the void whilst playing a small wooden flute (dudochka). The dilapidated buildings are sinking into murky water, a heavy, leaden sky is visible in the upper left corner.
0152
Christopher Coenen @chrixcoenen.bsky.social · 17/08/2026
Rudolf Ernst, 'The musician' (1884)
https://www.sothebys.com/en/buy/auction/2020/important-works-from-najd-collection-part-ii/rudolf-ernst-the-musician :
"Painted in 1884, this is among Ernst's earliest and most lyrical Orientalist paintings. A Nubian or Sudanese street musician strums wistfully at his kissar, a type of Nubian plucked lyre. The rich layering of his robe and gown exhibit Ernst’s mastery at conveying textiles of different weights and textures. Indeed, the whole composition is a feast for the senses, convincingly conveying multiple tactile surfaces, from the player's gleaming skin and the geometric wood carving in the door panel on the left, to the mashrabiye lattice window overhanging the street, to the carved stonework. In fact, the musician's expression of concentration and unity with his instrument are so compelling that the tune he plays is almost audible."
1485
Christopher Coenen @chrixcoenen.bsky.social · 08/08/2026
Arthur Heyer, 'White cat and two brimstone butterflies (circa 1900)' #InternationalCatDay #Caturday
The white cat is watching the two brimstone butterflies flying just above her. Perhaps a tree in the backdrop
1274
Christopher Coenen @chrixcoenen.bsky.social · 07/08/2026
Alexander Naumov, 'Bella Donna' <film poster> (1927)
“Bella Donna” starred Pola Negri, Adolphe Menjou and Conway Tearle. It was directed in the USA by George Fitzmaurice. On the Soviet cinema poster, which is mainly red, the head of Pola Negri dominates. Her name, like the film title, is written in larger cyrillic letters than e.g. the names of Menjou and Tearle. Negri's face is, so to say, behind straight lines. Next to her giant face, two women are visible, perhaps herself in various dresses.
1172
Christopher Coenen @chrixcoenen.bsky.social · 07/08/2026
David Humbert de Superville, 'Dying Alexander'
highly stylised b/w drawing of the face, hair and neck
0194
Christopher Coenen @chrixcoenen.bsky.social · 01/08/2026
Ernst Ludwig, 'Old woman and cat' (1922) #Caturday
Drypoint and drypoint etching with flat tones
An elderly woman, shown almost in profile, wearing a scarf and smiling as she looks down at a cat. Some of the contours are indistinct. The face is relatively detailed.
0235
Christopher Coenen @chrixcoenen.bsky.social · 31/07/2026
Ivan Aivazovsky, 'The wrath of the seas' (1886)
https://en.wikipedia.org/wiki/The_Wrath_Of_The_Seas
1245
Christopher Coenen @chrixcoenen.bsky.social · 30/07/2026
Without saying your age, what is your favorite film released the year you turned 18?
Brazil
061
Christopher Coenen @chrixcoenen.bsky.social · 29/07/2026
Rockwell Kent, 'Calm and free (Maine coast)' (1909)
A barren, rugged coastal landscape, presumably on Monhegan Island, Maine. The view is set somewhat back from the sea, so that a few people standing in small groups near the shore are visible only as tiny figures. The painting is dominated by the sun, which is visible at the top center and illuminates the sea with a bright horizontal streak. The blue sea lies between the sky and the dark, rocky landscape. The sky and the rocks each occupy about two-fifths of the picture, while the sea occupies about one-fifth.

Translated with DeepL.com (free version)
13710
Christopher Coenen @chrixcoenen.bsky.social · 29/07/2026
Ferdinand Knab, 'Dusk on the shore' (late 19th century)
Knap captures the deep evening glow in the background, which shows the sky and the sea. This stands in stark contrast to the dark shadows cast in the foreground by rocks and the ruins of ancient structures, probably from mediterranean antiquity. On te rocks another ruiend structure can be seen as well as cypresses
0418
Christopher Coenen @chrixcoenen.bsky.social · 29/07/2026
Virginie Demont-Breton, 'Into the water!' (circa 1898)
This realistic artwork depicts a woman, most probably working-class, leading her young children into the sea. The younger child is sitting on her right shoulder; the other, slightly older child, is being held by her left hand and probably pulled by her towards the water, and he is looking back, over her shoulder and down at the child, with a determined expression. The child appears to be afraid of the water and is clinging to the mother. Both children wear no clothes. The mother is barefoot and her clothes are somewhat worn. She is young and strong. There is no sky to be seen, only water and sand.
0193
Christopher Coenen @chrixcoenen.bsky.social · 29/07/2026
Tatyana Yablonskaya, 'Fresh wind' (1971)
A person, probably a man, with dark skin and dark hair, seen from behind, is standing in the sea next to some sand, wearing white shorts and letting a white cloth – probably a towel – flutter in the wind. In the distance on the left, a coastline with cliffs can be seen.
092
Christopher Coenen @chrixcoenen.bsky.social · 27/07/2026
Vermutlich, bei dem Vornamen
A mouse is standing on two legs next to a glass of beer, sniffing at it. The mouse is Hegel (as it says on a sign). Written on the beer is: ‘Life is a series of theses, antitheses, and syntheses’. Lurking beneath it is a kitten, staring at the mouse. The kitten is Marx.
030
Christopher Coenen @chrixcoenen.bsky.social · 27/07/2026
Marx Reichlich, 'The jester' (circa 1519-1520)
At the center is a laughing court jester wearing a traditional jester’s cap. His facial expressions are grotesque and expressive, which is typical of the depiction of jesters in Northern Renaissance art. In his left hand, he holds a scepter (a so-called marotte) topped with a carved head that also wears a jester’s cap and gazes at him mockingly. Peering over his shoulder is a brown animal, probably a small dog. In front of the jester, on a table, stand a glass of red wine, a partially eaten egg, and a slice of  bread.
2286
Christopher Coenen @chrixcoenen.bsky.social · 27/07/2026
Martin Lewis, 'Circus night' (1933)
Drypoint and sandpaper ground print, featuring a rural night scene of a visiting circus (Hunt's Circus) in Sandy Hook, Connecticut, where Lewis lived during the Great Depression (https://www.swanngalleries.com/auction-lot/martin-lewis-circus-night._f6341418c3). Visitors in the forefront, the tents behind and to the right, and in the background forest.
0113
Christopher Coenen @chrixcoenen.bsky.social · 26/07/2026
Hier wenigstens keine menschlichen Jäger: Friedrich August Matthias Gauermann, 'A boar attacked by wolves' (circa 1846)
Three wolves, one below the boar. 
Next to some water, below a rock with trees on it.
A look into the disrance in the right.
Cloudy sky
191
Christopher Coenen @chrixcoenen.bsky.social · 26/07/2026
🫱🏻‍🫲🏻 Oft nur Mythologisches: Roman School, 'Putti presenting Venus with the boar that killed Adonis' (17th c. CE)
Two birds are perched on the ground beside the seated, half-naked goddess. A beautiful landscape can be seen in the background. The two putti are keeping the boar at bay.
000
Christopher Coenen @chrixcoenen.bsky.social · 26/07/2026
Diese Thesen haben mich stark beeinflusst: www.textlog.de/benjamin/abh... (Wikipedia, deutsch): de.wikipedia.org/wiki/%C3%9Cb...) IN ENGLISH: www.sfu.ca/~andrewf/CON... Die Passage zum Bild habe ich in den ALT-Text des untenstehenden Benjamin-Fotoporträts kopiert:
»Es gibt ein Bild von Klee, das Angelus Novus heißt. Ein Engel
ist darauf dargestellt, der aussieht, als wäre er im Begriff, sich
von etwas zu entfernen, worauf er starrt. Seine Augen sind
aufgerissen, sein Mund steht offen und seine Flügel sind ausge-
spannt. Der Engel der Geschichte muss so aussehen. Er hat das
Antlitz der Vergangenheit zugewendet. Wo eine Kette von Bege-
benheiten vor uns erscheint, da sieht er eine einzige Katastrophe,
die unablässig Trümmer auf Trümmer häuft und sie ihm vor die
Füße schleudert. Er möchte wohl verweilen, die Toten wecken
und das Zerschlagene zusammenfügen. Aber ein Sturm weht
vom Paradiese her, der sich in seinen Flügeln verfangen hat und
so stark ist, dass der Engel sie nicht mehr schließen kann. Dieser
Sturm treibt ihn unaufhaltsam in die Zukunft, der er den Rücken
kehrt, während der Trümmerhaufen vor ihm zum Himmel
wächst. Das, was wir den Fortschritt nennen, ist dieser Sturm.«
020
Christopher Coenen @chrixcoenen.bsky.social · 25/07/2026
Paul Klee, 'Angelus novus' (1920)
https://en.wikipedia.org/wiki/Angelus_Novus

Image Description

*Angelus Novus* is considered one of the early works in Paul Klee’s series of angel motifs, which comprises some fifty works created between 1915 and 1940. In Klee’s own words, these are creatures that are still in the “antechamber of the angelic realm.” Their depiction is described as a shorthand-like symbolic script that conveys a sense of effervescent, carefree cheerfulness, in which wit has triumphed over suffering. [2] Striking features of the floating figure include the head, which is disproportionately large in relation to the body; the arms stretched upward with raised fingers, which only slightly suggest a pair of wings; and the rudimentary legs with three toes reminiscent of bird feet. The face is vividly rendered, with wide eyes, a distinct nose, and an open mouth revealing teeth. Also clearly visible are the large ears and the throat or neck; above all, however, the hair—depicted as unmarked scrolls—appears tousled “as if by a storm.”[3] The figure’s gaze extends beyond the picture plane and past the viewer. The drawing is rendered in brown and golden-yellow tones on browned paper; its background appears mottled, and the corners are darkened, so that the figure stands or seems to float within a suggested oval. The work is signed and dated in the lower right corner.

In the context of Paul Klee’s series of motifs, the title *Angelus Novus* can be understood as *Young Angel*.
1112
Christopher Coenen @chrixcoenen.bsky.social · 25/07/2026
Paul Klee, 'Tomcat’s turf' (1919) #Caturday
A small, colourful diptych painting made of watercolor, gouache, and oil on gesso on two pieces of fabric mounted on cardboard.
The work is split into an upper and lower panel. The upper panel features warm greens and pinks forming an abstract, hilly landscape with a stylised black cat accented in orange near the letter "B". The lower panel has cool blues and whites with a speckled orange cat-like shape and a striking red sun circle.


More: https://www.metmuseum.org/art/collection/search/483131
17010
Christopher Coenen @chrixcoenen.bsky.social · 25/07/2026
Wilhelm Trübner, 'Beech forest with lovers' (1876)
The lovers – a middle-class woman seen from behind and a man of whom only a small part of the face is visible, who may be a member of a student fraternity or an officer – are just a small, inconspicuous detail on the right-hand side of the picture, which is dominated by the thick beech trees. In the background impenetrable greenery
0329
Christopher Coenen @chrixcoenen.bsky.social · 25/07/2026
Yuri Pimenov, 'Black women in a forest near Moscow' (circa 1970)
At the centre of the picture are two young Black women, barefoot, wearing short dresses and depicted in profile: one, with short hair, is standing upright; the other, whose hair is covered with a scarf made of the same fabric as her short dress, is bending down towards a flower in the meadow. The meadow and the women are surrounded by slender birch trees standing close together.
0255
Christopher Coenen @chrixcoenen.bsky.social · 25/07/2026
Maria Klass-Kazanowska, 'Wild pigs in the forest' (1897)
Two pigs, one dark, one white with a few dark spots. Both under a huge tree. Near to the tree are two mushrooms. More trees are in the background. They are partly in sunlight.
1265
Christopher Coenen @chrixcoenen.bsky.social · 24/07/2026
Arnold Böcklin, 'The silence of the forest' (1885)
In the centre, a bizarre unicorn, apparently blending features of a cow, a camel and a horse, emerges from the tree line. A woman or wood spirit, looking at the observer, sits draped upon the creature's back. A dense, and darh forest creates a heavy backdrop, emphasising isolation and ancient mystery. Between two trees a bit of daylight is visible, with a view into the distance.
1444
Christopher Coenen @chrixcoenen.bsky.social · 21/07/2026
Eero Järnefelt, 'Summer night moon' (1889)
A fenced-in agricultural pasture. A narrow, winding stream (or ditch) cuts through the rural meadow, running in the direction of the observer and dividing the lower two thirds of the picture in roughly two halves. The left side is dominated by a huge pile of wood and a stone. The right side features a meadow and in the background a farmhouse with a barn.  Behind is a forest and above stretches the vast, bright night sky of the Nordic summer with the full moon.
0287
Christopher Coenen @chrixcoenen.bsky.social · 21/07/2026
Nils Kreuger, 'Summer evening at Kalmarsund' (1904)
The painting depicts a vast coastal landscape along the Kalmarsund, the strait between Småland and the island of Öland. The foreground is characterized by a flat, rocky shoreline with a few dark cliffs and gentle waves. The dramatic sky, glowing in vibrant shades of orange, pink, and blue, dominates the scene. The warm, subdued sunlight is softly reflected on the relatively calm water’s surface.
0162
Christopher Coenen @chrixcoenen.bsky.social · 21/07/2026
Alexey Rybnikov, 'Summer night. Dikson' (1937)
The painting depicts an Arctic landscape during a polar night on the Siberian island of Dikson. It captures the rugged natural setting, combined with elements of the Soviet development of the North, such as a water airplane, buildings and a ship.
0131
Christopher Coenen @chrixcoenen.bsky.social · 20/07/2026
Tadeusz Pruszkowski, 'Melancholy' (1925)
oil-on-canvas portrait, measuring 80.5 × 62 cm 
The painting portrays a young woman, the artist's wife, Zofia Seweryna Pruszkowska (née Katarzyńska), who was a painter herself. She is depicted sitting next to a table on which lie a violin, sheet music, a fiddle and quill pens. Her posture suggests a moment of sudden stillness or a pause brought on by heavy thought. Her expression is deeply contemplative. Subtle, dramatic lighting illuminates her face, hands, and the polished wood of the violin, leaving the surrounding environment enveloped in an atmospheric, shadowy void.
050
Christopher Coenen @chrixcoenen.bsky.social · 20/07/2026
Earl Horter, 'Monday morning sunshine'
The print captures an iurban scene set in a narrow alleyway between buildings. Washed laundry lines stretch across the gap between the structures. To the left a person, probably a woman, rests on the ground
In the background, at the end of the alleyway, another person is standing

See also: https://americanart.si.edu/artwork/monday-morning-sunshine-10798
2287
Christopher Coenen @chrixcoenen.bsky.social · 20/07/2026
Pavel Nikonov, 'Our weekdays' (1960)
An early example of the Soviet Severe Style, this painting captures labour without idealisation. The painting breaks with academic perfection. It features angular silhouettes, rough contours, and a somber, minimalist color palette dominated by earth tones and a gloomy winter sky. In the foreground, four workers in warm clothing are being transported on the back of a lorry. One of them looks tired. The honesty of the portrayal is amplified by a grim winter setting, the rigid shapes of trucks on an uneven road, and a restrained color palette. In 1959, Nikonov traveled to Siberia to visit the Bratsk Hydroelectric Power Plant, which was under construction. Based on the material he gathered during the trip, the artist painted the work. The background of the painting was influenced by the work The painting was officially deemed a “creative failure” and sparked widespread public debate.
https://www.tretyakovgallerymagazine.com/articles/2-2019-63/pavel-nikonov-moving-towards-freedom-remembering-momentous-epoch: The guidance of Alexander Deineka, an artist senior to him by a generation, was important: it was Deineka who bought Nikonov's “Fishermen" when it was first shown at a youth exhibition. But Nikonov's next painting, “Our Weekdays", which was painted with reference to the compositional structure of Deineka's “The Defence of Petrograd", left the elder artist perplexed. “It's strange - where did you get this German Expressionism from?"
0196
Christopher Coenen @chrixcoenen.bsky.social · 15/07/2026
Ferdinand Hodler, 'The dream' (1897)
https://www.artera.ae/artworks/35514818-fdad-4ea4-b27e-02e1bc2774c2

Ferdinand Hodler painted *The Dream* using oil on canvas. This composition is dominated by its verticality, reinforced by the almost regimented field of green. A seated woman draped in white is central, her fiery red hair contrasting with the cool tones around her. Her gaze is downward, drawing our eye to the unsettling panel below.

Hodler uses symbolism to explore themes of mortality, memory, and the unconscious. The woman above, perhaps a representation of consciousness, seems to contemplate the image of a nude body, which could be her own, lying as if deceased. This stark juxtaposition destabilizes notions of life and death.

Consider the formal elements at play: the upward reach of the flowers versus the downward slump of the figure. These directional cues create a visual tension, suggesting a world in conflict between life's vitality and the inevitable pull of death. This isn't just a painting; it's a philosophical inquiry into the human condition, rendered through form and symbol.
15113