And at the same time, for all the decorativeness of the Paris fires, they are truly impressionistic in the artist’s desire to fix a quick impression of the seen Parisian night streets. Composer and musicologist Boris Asafiev, who wrote a deep book about Russian painting, described the impression of the Paris fires of Korovin as follows: “None of my visits to Paris, until the last, in 1928, could I free myself from Korovin’s” evening Paris Boulevard. “
It was not so difficult to transfer the glare of light to the shiny pavement, the play of iridescent spots of “all degrees” in the conditions of the picturesque culture of those years, but by painting to seize the continuity of the flashing of the cut-off and the inescapability of the city movement with a pulsating life everywhere, to find composition rhythms and volumes that they would not “stabilize” the pulse, but would stimulate life’s awe-and this was not an easy idea even then. But how joyfully it became when contemplating paintings that overcame the inertia of art itself. “
Certainly, Asafiev was right in his statement: “Korovin’s susceptibility was also explained, apart from the artist’s personal temperament, by the slowness of the tempo of Russian statehood and everyday life in comparison with the West, the dynamic contrast appeared to the eye of the Russian artist, naturally, sharper and more intense than the one already accustomed to strong irritations to the eye of a Western European. “
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