Paper

Student Artwork Guide

Landscape with trees in the wind

Name Class Date

Chaim Soutine, Landscape with trees in the wind (1919), The Ema Klabin House Museum. Public domain. See this canvas under a moving light: the drawing, the true colour under the varnish, the bare pigment

The facts

Artist
Chaim Soutine originaluniqueart.com/en/artists/chaim-soutine/
Artist’s dates
1894 – 1943
Painted
1919
Medium
Oil On Canvas
Movement
Expressionism Colour and shape deliberately distorted so the picture shows an emotion rather than a likeness.
Period
Modern
Held at
The Ema Klabin House Museum originaluniqueart.com/en/museums/the-ema-klabin-house-museum-sao-paulo/
Artistic style
Impressionist/Expressionist
Notable elements
Loose brushwork, texture
Subject or theme
Forest landscape

In context

Landscape with trees in the wind — Chaim Soutine

When was this painted?

  1. 1890
  2. 1900
  3. 1910
  4. 1920
  5. 1930
  6. 1940

Row above: the years. Row below: how old the artist was at the start and at the end of each span — 0 at birth, 49 at death.

Painted when the artist was 25. The artist lived to 49. 6 of the 28 dated works by this artist in our catalogue came earlier.

Shaded: the lifetime of Chaim Soutine (1894–1943) ▲ this work, 1919 every dated painting, decade by decade

First works: up to 1919 Main working years: 1919–1925 Late works: from 1925

Those three bands split the works this catalogue has a date for into a first quarter, a middle half and a last quarter. They are not the artist’s complete output: a thin stretch may be a gap in the record rather than a quiet spell. The same years with the artist’s life laid along them

Compare with

Pick one work above: name two things it shares with this one, and one thing that's different.

More works to set beside this one: originaluniqueart.com/en/art/similar/chaim-soutine-landscape-with-trees-in-the-wind-D7SHM6-en/

Colours

Measured from the image

    Main colour

    Phthalo Green #262e27

    Catalogued palette

    • #262E27
    • #A7A788
    • #4B543A
    • #7D7C53

    These colours inside the artist’s whole palette Find other paintings by colour

    Main colour name
    Phthalo Green
    Intensity
    Balanced How saturated and varied the colours are, from a single toned-down hue to many bright ones.
    Contrast
    Bold How much the colours differ in lightness and saturation across the picture.
    Harmony
    Balanced Harmony How well the colours work together, from clashing to fully unified.
    Brightness
    Shadow How light or dark the picture reads overall, from deep shadow to bright highlight.
    Saturation
    Subtle Color How pure and strong the colours are, from near-grey to fully vivid.

    Where in the world is this painting looked at?

    • under 1%
    • 1–3%
    • 3–8%
    • 8–20%
    • 20% and over
    This painting alone has too few recorded visitors to map, so the plate reads every work by Chaim Soutine over the last twelve months — 8 countries in all. Where these figures come from

    The ten leading countries

    1. 1 China 69.4%
    2. 2 United States of America 10.2%
    3. 3 Italy 8.2%
    4. 4 Finland 4.1%
    5. 5 Argentina 2.0%
    6. 6 France 2.0%
    7. 7 Hong Kong 2.0%
    8. 8 Mexico 2.0%

    Find the three darkest countries on the map. Is the museum that keeps this painting in any of them? Write down one reason people far away might look at it.

    The 20 most looked-at works by Chaim Soutine

    1. 1 Return from School After the Storm 8.1%
    2. 2 Untitled (1411) 8.1%
    3. 3 Portrait of Emile Lejeune, 1925 6.5%
    4. 4 (Carcass of beef) Minneapolis Institute of Arts, 1926 6.5%
    5. 5 untitled (4171) 4.8%
    6. 6 Still Life with Fowl [Nature Morte à La Volaille], 1918 3.2%
    7. 7 The old mill 3.2%
    8. 8 Servant Girl in Blue, 1934 3.2%
    9. 9 untitled (3759) 3.2%
    10. 10 untitled (3714) 3.2%
    11. 11 untitled (5980) 3.2%
    12. 12 untitled (1693) 3.2%
    13. 13 untitled (5106) 3.2%
    14. 14 untitled (2219) 3.2%
    15. 15 untitled (8701) 3.2%
    16. 16 Landscape at Céret [Paysage à Céret], 1922 1.6%
    17. 17 Hanging Duck, 1925 1.6%
    18. 18 Ceret Landscape, 1920 1.6%
    19. 19 Self Portrait by Curtain, 1917 1.6%
    20. Landscape with trees in the wind, 1919 this painting 0.0%

    Together these works take 72.4% of all the attention this artist's paintings received over the last twelve months. The catalogue holds 71 works by this artist, of which 36 were looked at at least once. This painting has not been looked at yet in that time — it closes the list without a rank. The same counts, month by month

    Bars measure attention, not quality. Pick the work at the top and this one: name one thing that might make a painting famous beyond how well it is painted.

    About this artwork

    Landscape with trees in the wind — Chaim Soutine

    Chaim Soutine’s Evocative Response to Nature's Fury

    This arresting landscape, titled “Landscape with trees in the wind,” offers a profound glimpse into the artistic world of Chaim Soutine (1894-1943), a painter whose intensely personal and emotionally charged works continue to resonate deeply with viewers. Executed in 1919, during a period of significant upheaval and artistic experimentation, the painting captures a raw, almost violent encounter between nature and the human spirit. The scene unfolds as a densely wooded hillside under a brooding, cloudy sky – a composition dominated by the earthy tones of green and brown, punctuated by flashes of red and pink that hint at distant, obscured elements. Soutine’s brushwork is anything but delicate; it's assertive, almost frantic, conveying a sense of movement and turbulence as if the trees themselves are battling against an unseen wind.

    Impressionistic Roots with Expressionist Intensity: While rooted in Impressionism’s focus on capturing fleeting moments of light and color, Soutine transcends this style through his deeply expressive application of paint. The visible brushstrokes aren't merely a stylistic choice but an integral part of the work’s emotional core.

    A Flattened Perspective: Rejecting traditional perspective, Soutine prioritizes the immediate impact of the scene, creating a flattened space that intensifies the feeling of being enveloped by the landscape.

    Technique and Materiality – A Layered Approach

    The painting’s power resides not only in its subject matter but also in Soutine's masterful technique. He employs a layered approach, building up texture and color intensity through multiple applications of oil paint. Thick impasto strokes create a palpable sense of physicality, inviting the viewer to almost feel the roughness of the bark and the sway of the branches. The diffused lighting contributes to a somber mood, further emphasizing the painting’s emotional weight. The use of color is particularly striking – the reds and pinks aren't merely decorative; they suggest an underlying tension, perhaps reflecting Soutine’s own turbulent personal life.

    Symbolic Resonance: Trees as Vessels of Emotion

    Beyond a simple depiction of a landscape, “Landscape with trees in the wind” is laden with symbolic meaning. The dense forest, rendered with such raw energy, can be interpreted as representing mystery, resilience, or even the subconscious – themes frequently explored by Soutine. The trees themselves become almost archetypal figures, embodying strength and endurance against an unseen force. The painting’s emotional impact suggests solitude or contemplation, inviting viewers to confront their own inner landscapes.

    Historical Context and Artistic Influence

    Created in 1919, this work reflects the broader artistic currents of the early 20th century. Soutine's style was influenced by Post-Impressionism and Expressionism, yet he forged a unique path, characterized by his intensely personal vision and his unflinching exploration of emotional truth. His work anticipated many of the developments in abstract art that would emerge later in the century. Soutine’s brief but impactful career cemented his place as one of the most important figures of modern art.

    Artist and museum

    Artist

    Chaim Soutine

    Born in Smilovichi, Russia

    A Life Forged in Turmoil: The World of Chaim Soutine

    Born into a large, impoverished Jewish family in Smilovichi, Russia (present-day Belarus) in 1893, Chaim Soutine’s early life was steeped in hardship. This formative experience—a childhood marked by both material scarcity and the restrictions imposed upon his Orthodox community—would profoundly shape his artistic vision. Though figural representation was discouraged within his religious upbringing, a nascent talent for drawing blossomed nonetheless, hinting at the passionate intensity that would come to define his work. He received formal training at an art academy in Vilna (now Vilnius, Lithuania) from 1910 to 1913, but it was his emigration to Paris in 1913 that proved truly pivotal. Enrolling at the École des Beaux-Arts under Fernand Cormon, Soutine found himself amidst a vibrant artistic community, yet he remained largely outside of prevailing trends, forging a path uniquely his own. His initial years in Paris were characterized by extreme poverty, a struggle that mirrored the emotional turbulence simmering beneath the surface of his canvases.

    An Expressionist Apart: Style and Influences

    While often categorized as an Expressionist, to label Soutine solely within this framework feels limiting. His style was profoundly individual, a compelling synthesis of traditional European painting—particularly the Dutch Masters like Rembrandt and Chardin, and the Realism of Courbet—filtered through a lens of raw emotional intensity. He didn’t simply mimic these masters; he absorbed their techniques and compositional strategies, then violently reinterpreted them to convey his own inner world. Bold colors, applied with thick impasto – a textured application of paint that gives his surfaces a palpable physicality – and agitated brushwork are hallmarks of his style. Soutine wasn’t interested in precise representation; he sought to capture the emotional essence of his subjects, often imbuing them with a sense of unease or psychological tension. Landscapes, portraits, and still lifes became his preferred vehicles for this exploration, recurring themes like food and animals reflecting both personal experiences and his Jewish heritage. These weren’t merely depictions; they were visceral expressions of feeling, painted with an almost desperate energy.

    Development and Defining Works

    Soutine's artistic development unfolded through distinct periods, each marked by unique stylistic explorations. The early Parisian years (1913-1917) saw him grappling with his voice amidst financial hardship. The period spent in Céret between 1919 and 1922 proved crucial. It was here, surrounded by the dramatic landscapes of southern France, that he produced many of his most celebrated works. These paintings are characterized by vibrant colors, distorted forms, and a sense of almost violent energy. Trees, cliffs, and fields become swirling masses of paint, reflecting not just what Soutine saw but how he felt in their presence. His portraits, too, stand apart for their psychological depth. He often depicted working-class individuals with a raw honesty that challenged conventional portraiture, revealing the dignity and vulnerability of his subjects. Similarly, his still lifes—arrangements of food and objects—convey a sense of vitality, but also an unsettling energy, as if even inanimate objects are imbued with life and emotion. Notable works from this period include studies related to “The Dance of Life,” alongside numerous landscapes capturing the essence of Céret, and poignant portraits of Russian émigrés in Paris.

    Recognition, Legacy, and Lasting Impact

    Soutine was a key figure within the School of Paris, a diverse group of artists working in the city during the early 20th century. However, his path to recognition wasn’t straightforward. The art dealer Leopold Zborowski played an instrumental role in promoting Soutine's work and securing his financial stability, recognizing the unique power of his vision. Initial critical reception was mixed, but his reputation grew steadily over time. His expressive use of paint and emotional intensity profoundly influenced later artists, including Willem de Kooning and Francis Bacon, who saw in Soutine a kindred spirit—an artist willing to push the boundaries of representation in pursuit of authentic expression. Today, Chaim Soutine is rightfully recognized as a major figure in Expressionism and a significant contributor to 20th-century art. His works are held in prestigious museums worldwide, testaments to his enduring legacy. He represents a crucial bridge between traditional European painting techniques and the emerging forms of Abstract Expressionism, prioritizing emotional expression over objective representation and developing an artistic voice that transcended typical Expressionist concerns. His innovative style paved the way for future generations of artists seeking to explore the depths of human emotion through the power of paint.

    Museum

    The Ema Klabin House Museum

    On show in Sao Paulo, Brazil

    A Sanctuary of Art and Legacy

    Nestled within the verdant embrace of São Paulo’s Jardim Europa district,

    The Ema Klabin House Museum

    offers far more than a mere exhibition of objects; it provides a profound immersion into a world where Brazilian heritage and global influences dance in eternal harmony. This institution began as a deeply personal trove of treasures, reflecting the unwavering passion for beauty held by its founder, Ema Gordon Klabin. To enter this space is to step into a curated experience where every corner whispers tales of devotion, philanthropy, and an uncompromising aesthetic sensibility that seeks to bridge the gap between the ancient and the modern.

    The architectural essence of the museum is a masterclass in intentionality, designed by Alfredo Ernesto Becker in the mid-1950s. Rather than imposing a cold, institutional grandeur, Becker sought to create a home for art, fostering an intimate atmosphere that encourages visitors to connect with each masterpiece on a personal level. This sense of architectural harmony is further elevated by the lush, verdant landscaping of

    Roberto Burle Marx

    , whose botanical artistry serves as a living extension of the museum's interior splendor. The flowing spaces and organic transitions between the built environment and nature create a meditative rhythm, making the museum a sanctuary for contemplation amidst the urban pulse of São Paulo.

    A Global Tapestry of Human Creativity

    The collection itself is an astonishing tapestry of human creativity, spanning millennia and continents to tell a story of global artistic evolution. Visitors may find themselves wandering through fragments of ancient Greece and Etruria, where mythological whispers meet the tangible remnants of daily life, only to turn a corner and encounter the vibrant energy of Brazilian Modernism. The narrative unfolds with grace, moving from European masterpieces—spanning Dutch, Flemish, Italian, and French traditions—to the profound treasures of Brazil's own history.

    What truly distinguishes this institution is its unique ability to act as both a historical archive and a living catalyst for contemporary dialogue. The collection highlights include:

    Ancient Treasures:

    Fragments from ancient Greece and Etruria that offer a glimpse into the foundations of Western mythology.

    European Masterpieces:

    A sophisticated selection of works representing the Dutch, Flemish, Italian, and French traditions.

    Brazilian Heritage:

    A profound collection of colonial-era relics and groundbreaking modernist works that celebrate national pride.

    By hosting significant exhibitions that spotlight both established masters and emerging talents, the foundation ensures that the legacy of the past continues to inform the art of the future. For the art lover, the collector, or the designer seeking inspiration, the museum offers an unparalleled study in texture, light, and cultural synthesis. It remains a place where the interplay between ancient traditions and contemporary Brazilian artistry creates a rich, enduring tapestry, inviting every guest to embark on a journey of discovery that is as much about the self as it is about the art.

    Where to read more

    Find this online

    QR code linking to the download page for Landscape with trees in the wind

    originaluniqueart.com/en/art/download/chaim-soutine-landscape-with-trees-in-the-wind-D7SHM6-en/

    Cite this artwork

    MLA
    Soutine, Chaim. Landscape with trees in the wind. 1919, The Ema Klabin House Museum. https://originaluniqueart.com/en/art/chaim-soutine-landscape-with-trees-in-the-wind-D7SHM6-en/
    APA
    Soutine, Chaim (1919). Landscape with trees in the wind [Painting]. The Ema Klabin House Museum. https://originaluniqueart.com/en/art/chaim-soutine-landscape-with-trees-in-the-wind-D7SHM6-en/
    Chicago
    Chaim Soutine. Landscape with trees in the wind. 1919. The Ema Klabin House Museum. https://originaluniqueart.com/en/art/chaim-soutine-landscape-with-trees-in-the-wind-D7SHM6-en/
    Harvard
    Soutine, Chaim (1919) Landscape with trees in the wind. The Ema Klabin House Museum. Available at: https://originaluniqueart.com/en/art/chaim-soutine-landscape-with-trees-in-the-wind-D7SHM6-en/

    Look closely

    Landscape with trees in the wind — Chaim Soutine

    Look closely

    Answer in your own words. There are no wrong answers here — only answers you can explain.

    1. What catches your eye first, and why?
    2. Which colours or shapes create the mood — and what is that mood?
    3. Our catalogue files this work under: dramatic landscape, windy trees”, “cloudy skies”. Do you agree? What would you add, or take away?
    4. Look back at Hanging Duck (1925), earlier in this guide. Name two things it shares with this work, and one that is different.
    5. Expressionism: Colour and shape deliberately distorted so the picture shows an emotion rather than a likeness. Where can you see that in this work?

    Your response

    Write a short paragraph about this artwork. Use the facts from the earlier parts of this guide, and your answers above.

    Questions & Answers

    What placement suits the format of "Landscape with trees in the wind" by Chaim Soutine?

    With its landscape shape, a reproduction of "Landscape with trees in the wind" is suggested for a living room.

    Which artist is "Landscape with trees in the wind" attributed to?

    The artist behind "Landscape with trees in the wind" is Chaim Soutine. The work is catalogued under Chaim Soutine's name.

    Is "Landscape with trees in the wind" typical of what Chaim Soutine usually created?

    Chaim Soutine's recurring themes include european expressionism, russian landscape tradition", post-war anxiety, spiritual isolation, fragmented reality, bridge to abstraction, emotional intensity, key late works; "Landscape with trees in the wind" focuses on dramatic landscape, windy trees”, “cloudy skies”, “expressive brushwork”, “solitary figure”, “emotional depth”, “turbulent nature”.