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The end of the 19th century was marked by the constant confrontation of various political groups, which could not but touch upon art and, as a result, led to a crisis in it.
However, some of the painters in this difficult situation found beauty in a person and his environment. That was Petrov-Vodkin.
The artist’s development was quite difficult, he tried many different techniques in writing his paintings, until he came to his personal style, so known to us today.
It is impossible to say that the work of Petrov-Vodkin was unambiguously accepted by connoisseurs of painting. Around his paintings is still a serious controversy. Benoit, for example, responded commendably and even admired some of the individual works of the artist. Repin, on the contrary, spoke out sharply, offensively, considering the paintings of the author of the daubs discussed.
In a portrait depicting a close-up of the girl at the window, Petrov-Vodkin presents a prefabricated, inspired image, while the viewer does not see this image as artificial. The girl in the artist’s painting is not just a face, but a deep psychological image.
Petrov-Vodkin uses a realistic style of composition, but refuses the movement of light, which is so widely used in paintings by other authors. Color plays a side role in character transmission. Primary - given to the artist, the incident light. The muted tones used in this work perfectly convey calmness and bliss.
Petrov-Vodkin not only paints, he deeply philosophizes on the subject of the human soul and interpersonal relationships. After death, the artist was forgotten for a long time, but today art nevertheless accepted him as a master of great scale. According to Yu. Rusakov, it is precisely such people who are capable of moving art.
Bosch Woz Hay