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Pink still life
Kuzma Sergeevich Petrov-Vodkin • Painting, 1918, 57×71 cm
Description of the artwork «Pink still life»
Still life by Petrov-Vodkin often remind Desk-Keeper. Each piece of it is separate, does not obscure other available for full review and waiting to get the service. Even small berries, accustomed to the luxurious, hedonistic summer of the mound in a deep bowl, his posing alone. Apple - 1 piece, cherry 1 piece. The artist is quite simple and concise set of objects, to understand cherries in General and apples in General. The universe in General. This external scarcity is a huge opportunity - to open the order of things.
One of the disciples of the artist recalled how Kuzma Sergeevich advised to write subjects: "He said if you draw a pencil lying on the table, your task is to determine not only the position of this pencil to the table surface on which it lies, but also its relationship to the walls of the room where the table and walls of this room – to world space, for every thing, even a simple pencil is in global space". And why do you have a basket of apples, if one opens all of space and connection with the past and the future.
Most of the still life by Petrov-Vodkin written over two years, from 1918 to 1920. Scary, hungry, cruel, avaricious joy, generous with time trials. Lack of all necessities. But the cold, austere compositions eggs, matches, black bread of course, not poverty specific. In the era of the triumph of non-figurative and even abstract art Kuzma Petrov-Vodkin was late linked to the subject. He was sure that we daily are inattentive to them, limit their decorative or applied properties. This inattention, by the way, leads man eventually to design and create a truly ugly things. But when the artist is removed from the utilitarian and ukrashatelskih, he opened the "the forces that make up the object inside." He feels the weight of the atmosphere around Apple, the pressure energy of the kettle to the surface of the table, a unique density of wood, metal or glass.
"The autopsy mercurimetric relationship gives you more joy of penetration into the world of things: metal, liquid, stone, wood introduce reflective in their complete life. The law of gravity from the abstract, cognitive only becomes noticeable in the scale is close, easy for all experience fluctuations of oncoming, intersecting, converging and diverging axes of the objects as in a magnifying glass, do before you the laws of motion, grip and ottalkivaet"- wrote Kuzma Petrov-Vodkin in the book "Euclid's Space", where a whole Chapter is dedicated to his first exercises in the writing of still-lifes and thoughts about the dramas that unfold from a collision of objects within the picture.
Compared to many other "Pink still life" densely populated, for Petrov-Vodkin, can be considered, even abundant. And the air in it is rarefied, transparent to pink. A branch heavy with apples easily soars over the table, maintains its own formula of the law of gravitation. Every item - your viewing angle, best for him, a tangible weight and texture.
The son of a shoemaker and seamstress, Petrov-Vodkin at first he studied at the Moscow school of technical drawing. But the drawings of cabinets and schemes decorative patterns he desperately was given. The harsh Parallels and perpendiculars required colour, shrank and swelled. The teacher of technical drawing carefully advised the young man to move in a beautiful direction. Looking for a place object not in the expanded drawing and in the universe.
Author: Anna Sidelnikova
One of the disciples of the artist recalled how Kuzma Sergeevich advised to write subjects: "He said if you draw a pencil lying on the table, your task is to determine not only the position of this pencil to the table surface on which it lies, but also its relationship to the walls of the room where the table and walls of this room – to world space, for every thing, even a simple pencil is in global space". And why do you have a basket of apples, if one opens all of space and connection with the past and the future.
Most of the still life by Petrov-Vodkin written over two years, from 1918 to 1920. Scary, hungry, cruel, avaricious joy, generous with time trials. Lack of all necessities. But the cold, austere compositions eggs, matches, black bread of course, not poverty specific. In the era of the triumph of non-figurative and even abstract art Kuzma Petrov-Vodkin was late linked to the subject. He was sure that we daily are inattentive to them, limit their decorative or applied properties. This inattention, by the way, leads man eventually to design and create a truly ugly things. But when the artist is removed from the utilitarian and ukrashatelskih, he opened the "the forces that make up the object inside." He feels the weight of the atmosphere around Apple, the pressure energy of the kettle to the surface of the table, a unique density of wood, metal or glass.
"The autopsy mercurimetric relationship gives you more joy of penetration into the world of things: metal, liquid, stone, wood introduce reflective in their complete life. The law of gravity from the abstract, cognitive only becomes noticeable in the scale is close, easy for all experience fluctuations of oncoming, intersecting, converging and diverging axes of the objects as in a magnifying glass, do before you the laws of motion, grip and ottalkivaet"- wrote Kuzma Petrov-Vodkin in the book "Euclid's Space", where a whole Chapter is dedicated to his first exercises in the writing of still-lifes and thoughts about the dramas that unfold from a collision of objects within the picture.
Compared to many other "Pink still life" densely populated, for Petrov-Vodkin, can be considered, even abundant. And the air in it is rarefied, transparent to pink. A branch heavy with apples easily soars over the table, maintains its own formula of the law of gravitation. Every item - your viewing angle, best for him, a tangible weight and texture.
The son of a shoemaker and seamstress, Petrov-Vodkin at first he studied at the Moscow school of technical drawing. But the drawings of cabinets and schemes decorative patterns he desperately was given. The harsh Parallels and perpendiculars required colour, shrank and swelled. The teacher of technical drawing carefully advised the young man to move in a beautiful direction. Looking for a place object not in the expanded drawing and in the universe.
Author: Anna Sidelnikova
