Although the composition is very typical for Mägi – we are peering at a distant landscape, the trees in the foreground are like theatre curtains – the forcefulness of the colours and the dynamics of the brush pattern are remarkable. The main tone of the painting is purple, which we also see on other Mägi works, but never in this dominant a role. Various reddish plants have been placed on this background, which, growing on top of a tree, have been painted with a something of a centrifugal brush pattern. The illusion of swirling creates a psychedelic atmosphere intensified by the landscape in the background, which flows in waves. Such a dynamic of natural forms is reminiscent of Edvard Munch’s wavy brush pattern, which in spite of the pleasing rhythm does not placate the natural world but gives it an expressive, energy-charged and anxious mood. Nature does not submit to observation or enjoyment, it does not lie slack and submissive to the viewer’s gaze; rather, something romantic and mysterious pulsates in it.

The painting belonged to Konrad Mägi’s friend Bernhard Linde, who was also one of his first agents.

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