Maryan Besaga

October belongs to a later stage of the Impressions series, in which direct observation of nature gradually gives way to a more abstracted painterly language. The real landscape remains the foundation of the work, yet its forms dissolve into colour, light, and texture.

The composition unfolds from bottom to top — from the dark, saturated mass of earth and vegetation towards the brilliance of autumn light. Yellow, golden, orange, and red patches of colour create a dynamic surface in which the outlines of trees and foliage become almost inseparable from the painting itself.

Dense, heavily textured brushstrokes give colour a tangible material presence. The autumn foliage is not so much depicted as constructed through paint itself — through its layers, ruptures, and the collisions of coloured masses. Fragments of blue, white, and pinkish violet unexpectedly emerge through the warm palette, evoking glimpses of sky and light filtering through the treetops.

October captures not a particular landscape, but the intensity of autumn at the height of its chromatic expression. Here, nature gradually loses its representational form and transforms into painterly matter — into the movement of colour, light, and texture.