In examining the works of Perov, two features of style in particular become apparent as means of expressing hardship and solace in tangible terms. First of all, Perov often incorporates background hues into foreground elements beyond the influence of lighting alone, creating a translucent effect. The man in The Troika (1866) is a prime example; the effect is made more powerful by the gray streaks extending over the man’s legs. Similarly, the bound and groveling men in Pugachev’s Judgement (1879) exhibit this feature in how their attire blends with the ground. Superficially, both instances of the technique serve to emphasize the eponymous subjects of the works. I would go further to claim that they add an element of otherworldly torment to the works. While the Russian and English traditions surrounding ghosts surely diverge, the idea that translucent humans (and other organic forms) are uncanny or distort our understanding of the passage of time within a work seems a cultural invariant.
Perov inverts his technique to the opposite effect in The First Christians of Kiev (1880). Rather than rendering objects incorporeal, Perov includes hints of the hue and texture of the icon cover in the night sky to create the impression of cover for the worshippers. This gives a sense of supernatural protection from the elements. This contrast also features in the chronology within his paintings’ narratives. While the aforementioned works show a man receding as if having passed the children and people groveling as though condemned, The First Christians of Kiev suggests that the prayer began prior to the comforting atmosphere.
The other defining feature is the use of composition in conveying hostility and clemency. Both The Troika and Going to Burial (1865) achieve the former effect through inclined landscapes made more grueling by diagonal, cumbersome drawn sleds linking the subjects to their surroundings. In addition, the child subjects huddle amongst themselves (or a coffin) against an uncaring background. Again, The First Christians of Kiev contrasts with his grimmer works in the use of the blanketing sky and layers of huddled adults to create a sense of safety. While the background terrain features steps, they are directed so as to suggest that the worshippers descended them to their point of congregation.
Although Perov rejects the romanticization of peasant labor, his portrayal of early Christian worship is idyllic. As with his emphasis on hardship and solace, this thematic contradiction seems to resolve itself as a reflection of Perov’s goal to reflect (what he would consider to be) true ideals and dreaded realities.
A lovely and far-reaching analysis, Zach! Do you remember the portrait of a man by Perov that we saw in the storage room of the Met?
Going off of your idea about the supernatural nature of “The First Christians of Kiev”, I think that the lighting in the painting is also very impactful. While there is light coming from the horizon, the majority of the light, and the light that illuminates the figures, comes from the supernatural source of the holy text and chalice. As you mention, there appears to be a protection of the worshippers from the elements in this painting; I think an interesting pairing with that idea is the fact that the life-giving giving religious objects are acting almost as a replacement for the natural element of sunlight.
I agree that Perov’s use of certain techniques are powerful ways in which he expresses contrasting ideas of hardship and solace. Most notably, I also agree that Perov’s use of differing hues of light and dark shades amplifies these aspects. To add to your examples, I think that “Sleeping Children” (1870) also shows Perov’s technique of drawing attention to the subject of his painting while also showing the serenity in its underlying tragedy. In his work, “Sleeping Children,” Perov depicts two children sleeping without blankets on a floor. Both are shown to be wearing tattered clothes, with bare feet and slightly disheveled hair. The darkness surrounding these children accentuates their bodies, drawing attention to their features. Although their poverty is apparent, Perov draws special attention to the serenity in the children’s slumber. In this way, Perov uses his depictions of realistic scenes to reject romanticism painting, but still maintain the beauty of such scenes. Great job on your analysis! 🙂
I LOVE THE WAY THAT YOU MANAGED TO TIE PEROV’S PAINTINGS TOGETHER WITH A FEW DISTINCT THEMES AND EXPERTLY CIRCLE BACK TO THE ONE MAJOR GOAL OF THE ITINERANTS: DEVIATION FROM CLASSICAL CONCEPTS AND REALISTIC DEPICTIONS OF SERFS. I’D LIKE TO TAKE A DIVE INTO MY FAVORITE PEROV PAINTING ON THE COURSE WEBSITE: SLEEPING CHILDREN. IN SLEEPING CHILDREN, PETROV USES LIGHTING AND CONTRAST TO CREATE A ETHEREAL AND INNOCENT DEPICTION OF SLEEPING PEASANT CHILDREN. IN COMPARISON TO THE OTHER DEPICTIONS THAT YOU MENTIONED, PEASANT LIFE IS SHOWN TO BE TRANQUIL RATHER THAN VIOLENTLY BRUTAL. THE PAINTING BACKGROUND AND MUCH OF THE FOREGROUND IS ALMOST COMPLETELY BLACK. ONLY THE CHILDREN’S FEATURES ARE ILLUMINATED BY THE LIGHT SETTING THEM APART FROM THE DARK AND MYSTERIOUS WORLD THAT THEY INHABIT. AGAIN, WONDERFUL WORK, ZACH!!
P.S. MY COMPUTER IS STUCK IN CAPS FOR SOME REASON :)))
Your discussion of the harsh landscape in “Going to Burial” was very compelling and informative, The importance of the lights which show motion and direction were not apparent to me on my first viewing of this painting. The general harshness and straitness of the topography does truly convey a sense of overwhelming bleakness, which is a bit crushing.