Personified image of Spring is not uncommon subject in the history of world art. But here the author interprets it in quite an unexpected way. Symbolic composition fascinates, inviting a spectator for reflection. The center of the painting as well as its semantic dominant presents as the sheet covered with writings, hiding the face of yet sleeping Spring. Could this be a message with codified program for eternal renovation and self-revival of Nature? Vertical format adds to the composition some dynamics and a tendency for moving upward. Rhythm of dry stem verticals piercing through the flame-colored pyramid of hair serves the same impression. The painting’s space is organized as a combination of two points of view (straight and from above), and the portrayal of inanimate nature as concealing a vital force almost physically sensed by a spectator allows the author to reproduce the ambivalence of the world.
Personified image of Spring is not uncommon subject in the history of world art. But here the author interprets it in quite an unexpected way. Symbolic composition fascinates, inviting a spectator for reflection. The center of the painting as well as its semantic dominant presents as the sheet covered with writings, hiding the face of yet sleeping Spring. Could this be a message with codified program for eternal renovation and self-revival of Nature? Vertical format adds to the composition some dynamics and a tendency for moving upward. Rhythm of dry stem verticals piercing through the flame-colored pyramid of hair serves the same impression. The painting’s space is organized as a combination of two points of view (straight and from above), and the portrayal of inanimate nature as concealing a vital force almost physically sensed by a spectator allows the author to reproduce the ambivalence of the world.