Many features of the Golden Autumn illustrate the increased interest in the problematics of form and the issues of the quality of painting and style in the 1890s. This work combines the immediacy of plein-air observations with the search for an updated plastic solution. A completely traditional painting style mixes here with a free, almost impressionistic interpretation of individual details. At the same time, colour does not dissolve in light, as in classical Impressionism, but retains its intensity, which, together with expressive pastose brushwork, enhances the emotional emphasis of the canvas.
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