A new area of enthusiasm for Korovin in the 1910s was a still life. Undoubtedly, the attraction to the still life, which captured the art of the 1910s, did not pass by the artist. However, in still life he is faithful to “decorative impressionism,” which is especially evident in two works of 1912, related to the motive of the Paris fires. It’s Roses and Violets and Still Life.
The master portrays bouquets by the window, behind which the lights of the night Paris are visible. Their reflexes flicker on a silver tray, on a gilded pot that stands next to the flowers. Through these reflexes, the painter unites the still life with a large world, as if telling us that they are part of it, collecting, as in a focus, all the most beautiful and poetic of life around us.
As the quintessence of all the beauty of reality are perceived dark red roses, the depth of the sounding of which is emphasized by the contrast with the metallic gleaming of silver and gilded objects. The chill of metal makes it possible to feel even deeper the living breathing of colors written with that sensual fullness that captures the viewer in the best canvases of Korovin.
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