Following the example of the gods 2 Henryk Semiradsky (1843-1902)

The composition presents a scene steeped in classical allusion and melancholic introspection. Here we observe a young man positioned on a stone plinth overlooking a body of water, his posture suggesting weariness or contemplation. He is clad in what appears to be a Roman-inspired tunic, adorned with a wreath of flowers, hinting at a connection to mythology or idealized beauty. A small boat, propelled by an unseen oarsman, drifts gently across the dark surface of the water towards him.
Dominating the left side of the canvas stands a marble sculpture depicting two figures in intimate embrace. The placement of this statue is significant; it serves as a visual and thematic anchor for the scene, suggesting a longing for idealized love or an unattainable perfection. The foliage surrounding the plinth and obscuring parts of the background creates a sense of enclosure and seclusion, reinforcing the figure’s isolation.
The light in the painting is carefully orchestrated. It illuminates the young man and the sculpture while leaving much of the landscape in shadow. This contrast directs the viewers attention to these key elements and contributes to the overall mood of quiet sadness or regret. The architecture visible on the right, a red-tinged archway leading upwards, introduces an element of aspiration or perhaps unattainable goals.
Subtly, the painting explores themes of mortality, beauty, and the human condition in relation to classical ideals. The figure’s gaze seems directed towards something beyond the immediate scene, suggesting a yearning for something lost or never possessed. The presence of the sculpture implies a comparison between the idealized world of mythology and the complexities of lived experience. The dark water acts as a symbolic barrier, separating the figure from whatever he desires, further emphasizing his solitude and perhaps hinting at an underlying sense of despair.