In Summer 1932

Veniamin Kremer made 'In Summer' with oil paints in, well, we don't know exactly when, but the colours and brushstrokes give the feeling of a captured moment. Looking at it, you can almost feel the thickness of the paint. Kremer’s definitely not shy with it, especially up there in the clouds, those brushstrokes are thick and juicy. The way he builds up the layers feels intuitive, like he’s feeling his way through the scene. There’s a lovely tension between the loose, gestural strokes and the overall composition. Take a look at the way Kremer paints those distant buildings. It's like he's just suggesting their forms with these quick, almost abstract daubs of colour. It's a detail that speaks to how painting can be about capturing an impression, a feeling, rather than a precise representation. It reminds me a little of Pissarro’s landscapes, that same interest in capturing the light and atmosphere of a place. Art’s all about conversation, right?