The works painted during his Lake Saadjärv period (summers of 1923 and 1924) have been interpreted as both synthesis and deterioration. His new painting style, characterized by less attention to details, a sparser composition, duller colours and a decrease in amount of fully painted parts can be seen as an attempt to attain greater generalization as well as an inability to paint with his former facility. Yet Mägi’s transformation is not total. The thematic choices and motif structure remain unchanged, and his view of the landscapes is panoramic.

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