Painting. Russian artists. Kuzma Petrov-Vodkin (1878-1939)

In Kuz'ma Petrov-Vodkin's paintings the world of fantasy typical for the Blue Rose group (especially in its early stage) makes way for large-scale monumental compositions in which he reconciled the reality of life with the Renaissance tradition and the fragile harmony of the old Russian painting. The main achievement of the Blue Rose group, founded in 1907, was the rediscovery of the Orient as a new theme of painting.

Kuz'ma Sergeyevich Petrov-Vodkin began his studies in the drawing and painting classes of F. Berov in Samara (1893-5), then he attended Baron Stieglitz's school in St. Petersburg (1895-97). Petrov-Vodkin studied under Abraham Arkhipov, Nikolay Kasatkin and Valentin Serov at the Moscow School of Painting, Sculpture and Architecture from 1897 to 1905 and then at Anton Asbe's school in Munich (1901). After working in various private studios in Paris between 1905 and 1908 Petrov-Vodkin made trips to Constantinople, Greece and Italy in 1905 and to Algiers in 1906. On his return to Russia he staged an exhibition in the editorial offices of the magazine "Apollon" in St. Petersburg (1909). From 1911 to 1924 Petrov-Vodkin exhibited with the World of Art group and from 1925 to 1928 he showed with the Four Arts Society of Artists. From the early 1910s Petrov-Vodkin exercised a great stylistic authority. In his works he tried to harmonise classicism and modernism. Petrov-Vodkin worked out his style under a wide range of seemingly incompatible influences of Aleksey Venetsianov, Alexsandre Ivanov, Mikhail Vrubel', the artists of the Munich Secession, Ferdinand Hodder, Maris Denis, Paul Gaugin, Puvis de Charannes, Henry Matisse, Giovanni Bellini, and early Russian frescoes and icons.

Petrov-Vodkin's philosophy was based on Symbolism. He was a Symbolist by conviction. In his Dream, of 1910, Boys Playing, of 1911, and the Red Horse Bathing, of 1912, Petrov-Vodkin integrated modern philosophy with classical purity. His subject - matter is epic in its worldview. His characters are contemplative and aloof from real life. In these works Petrov-Vodkin emphasises eternal values.

One of his major themes is motherhood. It symbolises integrity and purity of life. The idea of Petroigrad Madonna, of 1919, derives from the religious image of the Bogomater (Mother of God). For Petrov-Vodkin the world was part of the eternal cosmos. He depicted people and objects in complicated foreshortening on slanted axis as if floating in the air, combining motion with stillness. The painter defined his manner of painting as spherical perspective. The linear quality of this solution is emphasised by the use of simple forms and colours interpreted metaphorically (blue for the sky, green for grass and leaves, red for human body). This colour range is known as Petrov-Vodkin's tryokhtsvetka (three-colour palette).

In a number of major works Petrov-Vodkin tried to find a formula that could render the dramatic experiences of his contem¬poraries. Such paintings as After the Battle, of 1923, the Death of the Commissar, of 1928, are part of a symbolic epic series related to the Revolutionary period.

Having almost an academic approach to classical ideals, Petrov-Vodkin came close to the Russian avant-garde. A sense of nationalism, a feeling of special destiny of Russia is characteristic of Petrov-Vodkin's outlook. He regarded the Revolution of 1917 as an elemental and cathartic force. In his works especially portraits the painter used a cinematographic device of superimposition. The best example of it is the portrait of Anna Akhmatova, of 1922. In his still-lifes Petrov-Vodkin was always spontaneous in the interpretation of nature. The artist deliberately posed formal problems to be resolved in his large narrative canvases.

Petrov-Vodkin created a number of religious canvases and church murals. Shortly after the Revolution he participated in the decoration of Petrograd for the festivities commemorating this event. Petrov-Vodkin also illustrated books. In his drawings made between 1918 and 1920 he used conventions of abstract art, which were not developed in his paintings.

Petrov-Vodkin was a good teacher. He taught in St Petersburg at Zvantseva's school (1910-15), Svomas (1918-20) and the Academy of Arts (1921-33). Through the 1930s he remained faithful to the rigid pedagogical system combining spherical perception with the universal three-colour palette and classical drawing.
 

Literature: Book "Russian art" A.P. Minyar-Belorucheva