Konrad Mägi left Italy in mid-August 1922 and arrived at the end of the month in Oberstdorf, where he stayed for about a month. “What a contrast between Italy and this country,” he wrote from there. “I still remember the last days in Venice as if it were some fantastic dream. Only now do I understand what Italy truly is because of the contrast.” This is more or less the only indication we have of Mägi’s stay in Oberstdorf, where he improved his health in the refreshing mountain air overflowing from the Alps.

Here, for the second time, he encounters mighty cliffs, although he did not wander much in the mountains in Norway, but probably did in Oberstdorf. “Here I climbed one mountain, a boring mountain of course, and I’m quite tired,” he writes to his friend. In his works, the cliffs become the main characters. They are large, massive, elemental, often dominating the picture space with their presence. The cliffs are in the center of the picture, and everything else is scattered around them: houses, lakes, trees.

Compared to the recent Italian period, Mägi is much more impulsive here and works less on nuances and transitions. He also pays less attention to creating atmosphere and is more expressive, abrupt, and nervous. There is something very restless inside Mägi.

The reproduction of these works without the express written consent of the owner of the works is prohibited.