Examination of the painting reveals its dependence upon the Safavid manner, both in subject manner and technique. Also purely Safavid are the cragged mountains and small trees springing off them, the overall gold sky and the painting of the leaves of the plane tree; the autumnal tints of the leaves facing the viewer are painted against the undifferentiated dark green blocks of the leaves on the other side. The landscape is brushed in flat planes without any of the recessional techniques. The bole of the tree is not a flat surface but a rounded one which stands proud of its flat background.
The man is determined to climb it, with one foot firmly planted and a hand surely grasping. Above all, it is the delightful, fully modeled squirrels, a dozen in all - as they playfully gambol about the branches and entice the man upwards - which makes the painting alive.
This description by Renu Rana.
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