Finale (Sonata of the Spring) 1907

Mikalojus Konstantinas Ciurlionis painted "Finale (Sonata of the Spring)" with what looks like watercolor, or maybe tempera, creating a world that’s both delicate and kind of monumental. There's a playful quality to the way the colors are laid down, almost like musical notes on a page, light and airy, yet they build up to something bigger. The surface is so smooth, it's like looking at a dream, where everything is a bit hazy but still has this undeniable presence. I'm drawn to how he’s built up these spires, almost like turrets or towers, that pierce through a landscape below. They are painted in such a way as to suggest both solidity and ethereality. Notice how the paint is so thin you can see the weave of the paper underneath. This reminds me of the work of Odilon Redon. Both artists created deeply personal visual languages rooted in symbolism and the evocative use of color. Ultimately, this painting feels like an embrace of ambiguity, inviting us to find our own meanings within its dreamlike realm.