Among the mills. 1900 Konstantin Alekseevich Korovin (1861-1939)

The composition presents a densely packed industrial landscape dominated by the imposing forms of mill structures. The artist employed a restricted palette primarily composed of greens and grays, creating a somber and somewhat oppressive atmosphere. These hues contribute to a sense of enclosure and perhaps even confinement within this manufactured environment.
Here we see a complex arrangement of machinery; its various components are rendered with broad, energetic brushstrokes that suggest both the scale of the operation and the artist’s rapid observation. The forms overlap and interlock, creating a visual tangle that obscures any clear sense of depth or perspective. This flattening effect contributes to the overall feeling of being overwhelmed by the industrial presence.
A patch of lighter tones – a pale gray-white – appears centrally within the composition, possibly representing an area of snow or perhaps diffused light filtering through the structures. It acts as a focal point, drawing the eye amidst the surrounding darkness and adding a subtle contrast to the otherwise muted color scheme.
At the lower edge of the painting, hints of orange and yellow emerge, suggesting either the presence of fire or some other source of heat within the industrial complex. These warmer tones are fleeting and subdued, but their inclusion introduces an element of potential danger or transformation – a suggestion that these processes are not entirely benign.
The absence of human figures is significant. The landscape appears devoid of life beyond the mechanical activity itself. This omission reinforces a sense of alienation and perhaps critiques the dehumanizing effects of industrial labor. It prompts reflection on the relationship between humanity, industry, and the natural world – a theme frequently explored in depictions of rapidly changing landscapes at the turn of the twentieth century.
The painting’s overall effect is one of stark realism tempered by an expressive handling of paint. The artist seems less interested in precise representation than in conveying a feeling – a sense of the weight and power of industrial progress, alongside its potential for isolation and environmental impact.