Kalmyk Bayausta. 1812-13. B. Rose, um. K., pastes, white. 23. 8h19. 7. GTG Orest Adamovich Kiprensky (1782-1836)

Here we observe a portrait study executed in pastel and white chalk on paper. The subject is a young boy, depicted from the chest upwards, turned slightly towards the viewer. He wears distinctive attire: a tall, pointed hat of vibrant red with decorative elements at its apex, and a matching coat or jacket, also predominantly red, trimmed with what appears to be dark fur along the collar.
The artist’s handling of color is notable. The intense red of the clothing contrasts sharply against the muted background, which seems to have been rendered in soft browns and grays, creating an immediate visual focus on the boy himself. The application of pastel is loose and expressive; strokes are visible, contributing to a sense of immediacy and capturing the texture of the fabrics. The face exhibits a gentle smile, suggesting a youthful innocence or perhaps a carefully cultivated composure for observation.
A key element in understanding this work lies in its context – it appears to be a study, likely intended as preliminary material for a larger piece. The unfinished quality of the background and the somewhat sketchy rendering of certain facial features support this interpretation. This suggests an interest not merely in capturing likeness but also in observing details of dress and posture that might convey information about social status or regional identity.
The boy’s clothing, particularly the elaborate hat, points to a specific cultural affiliation. The pointed shape and ornamentation are characteristic of traditional headwear from regions beyond European Russia. This detail implies an encounter with individuals from a different culture – perhaps as part of diplomatic missions, military campaigns, or scientific expeditions. The artists choice to highlight this distinctive attire suggests that the subject’s identity is significant within the broader context of the work’s creation.
Subtly, there is a sense of distance in the portrayal. The boy does not meet the viewer’s gaze directly; his eyes are slightly averted, creating a feeling of polite reserve rather than intimate connection. This could be interpreted as reflecting the power dynamic inherent in such an encounter – the artist (and by extension, the observer) holding a position of authority relative to the subject. The overall effect is one of careful observation and documentation, tinged with a degree of cultural distance.