“Veyalschitsy” seemed to have come down from the paintings of Millet, but in the picture of Courbet, instead of the pathetic, stern asceticism inherent in the works of the barbizon, depicting peasant women at work, we find characters charming in their simplicity, sparkling color, rich lighting and finally filled with erotic atmosphere.
Cezanne, a great admirer of Courbet, was delighted with this painting and in one of the letters noted: “The yellow light flooding all around, a large reddish veil spread out on the floor, clouds of dust rising over the grain, a curl falling on the neck of
The picture “Veyalschitsy” occupies an exceptional place in the work of Courbet, however, as in the history of painting of the XIX century in general. The artist refuses to use the perspective, so the scene is deprived of depth. All the figures seem flat and are depicted on one plane. Here you can trace the influence of the art of the East, and in particular Japanese engravings. In this sense, the film “Veyalschitsy” becomes a peculiar stylistic predecessor of the works of Eduard Manet or Paul Gauguin.