Hess, Peter von. Battle of Borodino on Aug. 26, 1812 Hermitage ~ part 13
Hermitage ~ part 13 – Hess, Peter von. Battle of Borodino on Aug. 26, 1812
Edit attribution
Download full size: 1476×929 px (0,8 Mb)
Back to album: Hermitage ~ part 13
Album navigation:
COMMENTS: 6 Ответы
This is divine!
I disagree; in my opinion, the battle scene is not depicted realistically enough and is a pathetic parody of the works of the battle artist M. B. Grekov.
I disagree with you; the painting is beautiful. I havent seen anything better. Its very realistic.
Im amazed. Its a good painting. But I can do better. After all, Im also an artist. Okay then. Bye kisses.
Your arguments are nonsense, you young people. This is a masterpiece!
I cant say that this painting stands out in any particular way from the large number of similar battle paintings from the late 18th and early 19th centuries. The lighting in the painting is quite conventional, almost studio-like. The event depicted lacks dynamism. The painting style is traditionally dark and somewhat sluggish. Therefore, although this painting depicts a momentous event in the history of Europe and even the world, I cant really call it a masterpiece. Its clear that the artist from the early 19th century lacked the plein air training that many painters in the second half of the 19th century mastered so well. Lets remember, for example, the wonderful plein air paintings by Semiradsky. Many of them are simply magnificent. By the way, a little about Semiradsky. Sadly, albums with reproductions of his paintings are rarely published here. However, in many of Semiradskys works, the simple visual accuracy often overshadows the deeper meaning. Semiradsky was Polish, and its quite possible that the relatively limited promotion of his work here is related to the not-so-simple relationship between Russia and Poland.
You cannot comment Why?
Here we see two immense armies locked in combat. In the foreground, bodies – both living and deceased – are strewn across the ground amidst discarded weaponry and shattered equipment. A palpable chaos reigns; soldiers clash in close-quarters fighting, mounted officers attempt to rally their troops, and artillery smoke obscures portions of the battlefield. The artist has rendered a multitude of figures with varying degrees of detail, creating an impression of overwhelming numbers on both sides.
The composition is structured around several focal points. A cluster of officers on horseback occupies a central position, seemingly observing the battle’s progression while attempting to maintain order. Further back, dense ranks of infantry advance towards each other, their movements blurred by distance and the intensity of the fighting. The landscape itself – a series of gentle hills and open fields – becomes an integral part of the drama, shaping the flow of combatants and influencing visibility.
The color palette is dominated by earthy tones – browns, yellows, and ochres – which contribute to a sense of realism and grit. However, the use of golden light introduces a layer of romanticism, softening the harshness of war and imbuing the scene with an almost heroic quality. The artist’s brushwork appears loose and expressive, particularly in the depiction of smoke and distant figures, conveying the dynamism and unpredictability of battle.
Subtly embedded within this grand spectacle are indications of human cost. The fallen soldiers – some clearly lifeless, others wounded – serve as a stark reminder of the brutality inherent in warfare. The expressions on the faces of the combatants, though often obscured by distance or smoke, suggest a mixture of determination, fear, and exhaustion. The overall effect is not one of triumphant victory but rather a depiction of immense struggle and sacrifice, hinting at the profound toll taken on both armies involved. It’s an attempt to capture not just the event itself, but also its emotional weight and human consequences.