Turkish Bathhouse in Bakhchisaray (at exhibitions and in literature this landscape was also called Crimean Courtyard and Bathhouse) belongs to a series of Crimean landscapes in which Falk’s commitment Cezanne’s legacy was particularly clearly manifested. Out of all the artists who were in the ‘Jack of Diamonds’, he was the purest, most faithful cezannist. The natural forms in his works are built with color, and the cornerstone of the composition is the rhythm of color transitions: color conveys not only corporeality and dimensionality, but also the spatiality and depth of the picture.

Forms are built with amazing tonal transitions, and space with the movement of color. From a white street and the white house with blue shadows, through a wealth of ocher shades on the buildings in the background, a bright red roof, light pink and yellow green colors of the central roof and a distant hill, to the rich, seemingly resilient green trees and deep blue sky. It can be said that the space in the picture unfolds from the transparent coolness in the blue-white foreground, through the solar warmth and green-red juiciness across the background, into the depths of the blue southern sky. In this work, there is no pomp, heroism, or the degree of monumentality that is inherent in many of the cubist and cezannist landscapes done by the artists who were members of the ‘Jack of Diamonds’. A touching, romantic sound is created by a radiant polyphony of colors, enhanced by the deep, vibrant blue of the sky, which contrasts with all the other colors, and the bright chords of the green trees and red roof.