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'May without the City', 1917. Creator: Alexander Osmiorkin

'May without the City', 1917. Creator: Alexander Osmiorkin


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'May without the City', 1917. Creator: Alexander Osmiorkin

'May without the City', 1917

Heritage Images features heritage image collections

Media ID 38071771

© Art Media/Heritage Images

Cubism Cubist Evening Geometric Geometrical La Soiree Walls


FEATURES IN THESE COLLECTIONS

> Arts > Art Movements > Cubism

> Arts > Cubist sculptures > Geometric shapes > Cubist art

> Arts > Still life artwork > Cubism > Cubism paintings

> Arts > Still life artwork > Cubism > Fine art

> Arts > Minimalist artwork > Geometric shapes > Cubism

> North America > United States of America > New York > New York > Sights > Wall Street


EDITORS COMMENTS
'May without the City', 1917 by Alexander Osmiorkin is a captivating piece that transports viewers to a different time and place. The vibrant colors and geometric shapes used in this cubist painting create a sense of energy and movement, despite the absence of any human figures. The title itself, 'May without the City', suggests a scene where nature takes center stage, with no urban structures or bustling city life in sight. Instead, we are presented with an empty street lined with walls that seem to be pulsating with life. Osmiorkin's use of color is particularly striking in this piece, as he blends warm tones like reds and oranges with cooler blues and greens to create a harmonious balance. The play between light and shadow adds depth to the composition, drawing the viewer into this imaginary world. As we gaze at 'May without the City', we can almost feel the evening breeze on our skin and hear the sounds of nature surrounding us. It is a moment frozen in time, capturing the beauty of a country landscape untouched by modernity. Overall, Alexander Osmiorkin's 'May without the City' invites us to pause and appreciate the simplicity and serenity of rural life. It serves as a reminder of the importance of reconnecting with nature amidst our busy urban lifestyles.

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