Karl Burman seenior 1882–1965 Old Barn. 1948

After World War II, many artists tried to find ways to continue working without falling into ideological traps. In the post-war decades, therefore, all sorts of archaic motifs proliferated, as they were seemingly neutral, but at the same time spoke to the viewer of Estonian peasant culture and thus also reminded of the nation’s past. Uncharacteristically for Burman, however, he has not painted with a stark documentary quality, but with a spring-like richness of colour, air, and light. The woman at the well and the slightly shabby shed are archaic signs, but the richness of the colours suggests optimism and foresight.