23 Julian Falat (1853 - 1929) Winter landscape from Bright, after 1910 watercolour, gouache/paperboard, 40 x 65 cm (dimensions in frame) Signed and described: 'JFalat Bystra& ID: 179634 Taxes and fees - In addition to the hammer price, the successful bidder agrees to pay us a buyer's premium on the hammer prices of each lot sold. On all lots we charge 20 % of the hammer price. More information Snow occupies a special place in Julian Falat's painting. It covers the ground, covers the details and turns familiar landscapes into a system of vast, bright planes. For the artist, however, it was more than an impressive subject. It allowed us to see how few resources needed to give up space and create a feeling of coldness. The fold was able to show both the fresh fluffiness of snow and its weight during thawing. White didn't mean no color at all. Depending on the light, she took on blue or purple tones, and her contact with dark water or tree trunk gave the composition clarity. The winter landscape thus became one of the most complete expressions of his painting sensitivity. This freedom was based on the ability to observe. Even in the eighties of the 19th century, when the Fallat painted scenes from the life of the village and its inhabitants, critics paid attention to the ability to capture the character of the character with several strokes of the brush. It was emphasized that the simplest composition of colors was enough for the artist to make a suggestive reproduction of the object. In time, a similar economy determined his attitude toward the landscape. The faithfulness of nature did not require a detailed description of every detail. It was important to recognize what determines the appearance and mood of a given place and then to find the right form for this impression. A trip to Japan in 1885 became important. The European fascination with the art of this country has been developing for decades, and Japanese woodcuts have provided painters with compositional solutions. However, the fold had the opportunity to learn about nature and everyday life, from which the art grew. He was enchanted by old pine trees, recognizing their similarity to the trees known from Europe. Contact with a distant world helps us to understand why Japaneseism in his works was not limited to exotic props. First of all, it penetrated the way of looking at nature, finding the subject in its ordinary passage and giving it an independent painting value. The Japanese lesson was revealed in the courageous framement and freedom to organize space. The trunk placed close to the viewer could cover further view, and branches beyond the boundaries of the image suggested the continuity of the landscape. Vertical silhouettes of trees met with horizontal terrain bands, creating a clear rhythm. Such solutions allowed you to move away from the composition in which each element is subject to the selected center. The image became the chosen section of a larger whole. The relationship with Hokusai and Hiroshigi woodcuts can also be seen in the sense of empty spaces that do not need detailed filling to act on imagination. The watercolour proved to be beneficial for these experiences. Its speed was consistent with Fat's temperament and the need to keep the sensations warm. Instead of concealing the properties of this technique, the artist used its transparency and directness of the trace of the brush. An important role was played by the left-over white paper that co-created the light of the performance. The workmanship here served something more than the performance of the workshop, because it kept the first look fresh. What was merely suggested, the viewer could say on his own. About 1901, in the artist's work, there was a motif of a stream of snowy fields. He returned in oil paintings, watercolors and pastels, exhibited under various titles. The vast landscape was organized by a straight line of horizons, and the first plan was covered by snowbanks and a dark ribbon of water. The fold drew closer to the selected part of nature, increased its meaning and ignored the insignificant details. The curved course of the stream introduced movement into motionless space, leading to a look into the depths of the performance. Repetition of this subject allowed to extract different relationships between the line and the stain, and to observe light change a well - known view. In addition to the open spaces with the stream, winter performances of trees and parts of the forest were created. The trees have been interested in the Fat all their lives. Already in 1883 he painted old pine trees at Lake Dawn, which he later returned to many times. In the winter scene, their silhouettes gained a new character because the snow covered branches and transformed the proportions of crowns. In these landscapes, man was no longer needed as a hero of the story. The mood was due to the meeting of light with the matter of nature. Like the Japanese artist's admired art, a small part of the world could focus attention on what was fleeting and, at the same time, create a sense of lasting beyond a single moment. In the presented work, snowy trees of the first plan form clear vertical accents against the lightly running mountain slopes. Blue shadows and dark branches give snowy forms plasticity, combining the suggestion of observation with the decorative force of simplified shape.