A contemporary reply to Hartmann and Mussorgsky: fifteen paintings that translate sound into colour and motion, turning a nineteenth-century walk through an exhibition into a living dialogue across time.
In 1874, Modest Mussorgsky composed his suite after viewing Viktor Hartmann’s sketches; Toronto artist Paula Arciniega extends that chain, reimagining each movement on canvas. In both Mussorgsky’s suite and Paula’s cycle, the Promenades are moments of passage—a recurring refrain where time loosens and the listener/viewer re-orients before the next tableau.
Hartmann interpreted the world in sketches, Mussorgsky reshaped them in sound, and Paula answers with colour and line. Together, these paintings mark Paula’s living response: music made visible, shared material returned changed.
In 1874, Modest Mussorgsky composed his suite after viewing Viktor Hartmann’s sketches; Toronto artist Paula Arciniega extends that chain, reimagining each movement on canvas. In both Mussorgsky’s suite and Paula’s cycle, the Promenades are moments of passage—a recurring refrain where time loosens and the listener/viewer re-orients before the next tableau.
Hartmann interpreted the world in sketches, Mussorgsky reshaped them in sound, and Paula answers with colour and line. Together, these paintings mark Paula’s living response: music made visible, shared material returned changed.
