In case we pick the most significant periods of the art history of the 20. century, then Konrad Mägi and his stay at Saaremaa in years 1913 and 1914 would indisputably be one of such periods. Two summers, during which Mägi hoped to find treatment for his rheumatism in a mud spa, became a period, when were accomplised the most emblematic works of his creation. We can say without exaggerations that Saaremaa landscapes are Konrad Mägi. The whole art history of the first half of the 20. century can actually be concentrated around Konrad Mägi. Establishment and running of the “Pallas” art school and through this the creation of a firm platform for the following Estonian art is one thing. From another hand it is unbelievable, how Mägi –“indisputably the miracle of the Estonian art” (Virve Sarapik) – made in an extremely short period a leap from the academic manner of Köler to colourful landscapes, the extreme vigour of which is considered both mystical and also reaching to the limits of a mental disease. “Nature really becomes alive on his canvases, or actually, the landscape becomes alive,” writes Hanno Kompus, the contemporary of Mägi. “Landscapes by Mägi,” says Juhan Luiga, “seem to me as extracts from the outer space, of the world itself, a colourful future world, where man exists only as a spirit.” Evi Pihlak, one of the our leading art historians, claims in her monography that “we can talk more seriously of Mägi as the depictor of the Estonian landscape on the basis of his Saaremaa-paintings”. In her opinion Saremaa was “in the creative biography of the artist a happy finding, where he joined his existing painting experiences with a new manner of perception.” Konrad Mägi’s works that were made at Saaremaa, the majority of which of course are kept in the Estonian Art Museum, have exact dates only in a couple of cases. Works, which were made in summers of both years, are regarded to be a joint integer that are connected by joining ties. It was Saaremaa, where Mägi gave up elaboration in the studio and his works were often accomplished by painting in the nature. It has been remarked with amazement, how Mägi has chosen for the depiction of the Saaremaa weather only days with bright sunshine and how rather gray-shaded Saaremaa has become on the canvases of Mägi into landscapes, “where can be seen LIFE” (Hanno Kompus). Colourful and vigorous, technically perfect Saaremaa landscapes, which correspond to the standards of international art are indisputably pearls on the background of the whole Estonian art history. “Mägi is the first artist,” is Pihlak convinced,”who dared to approach our quite grey and modest nature with the means of modern art and discovered there the an unexpected treasure-store of picturesque values.” But who else could that have been?