Persian. 1901 Konstantin Alekseevich Korovin (1861-1939)

The drawing presents a figure enveloped in elaborate costume, rendered with a swiftness and looseness characteristic of preparatory sketches. The subject appears frontal, though not rigidly so; a slight turn suggests a dynamic presence rather than static portraiture. Here we see a person whose gender is ambiguous, or perhaps intentionally obscured by the voluminous drapery.
The most striking element is the costume itself. It consists of layered fabrics in shades of blue and red, with what appear to be stylized floral motifs scattered across the surface. The design evokes an exoticism, hinting at influences from Eastern cultures – specifically, a sense of Persian or Middle Eastern dress. The sleeves are dramatically oversized, cascading down around the figure like wings, contributing to an overall impression of theatricality and grandeur. A high collar, richly ornamented, frames the face, drawing attention to it while simultaneously concealing much of the neck and upper chest.
The facial features are rendered with minimal detail; the eyes are dark and shadowed, conveying a sense of mystery or perhaps introspection. The head is covered by a white headdress, simple in form but contributing to the overall impression of formality and ceremonial significance.
Around the central figure, faint sketches of smaller figures appear – likely preliminary studies for other elements within a larger design. These are executed with even greater brevity than the main subject, appearing almost as afterthoughts or fleeting ideas captured on paper. They contribute to a sense that this is not a finished work but rather an exploration in progress.
The color palette is restrained yet vibrant. The blues and reds dominate, punctuated by touches of gold and cream. The use of watercolor allows for a fluidity and transparency that enhances the feeling of movement within the costume’s folds.
In terms of subtext, the drawing seems to explore themes of identity, representation, and cultural appropriation. The ambiguous gender of the figure, combined with the exoticized costume, suggests an interest in blurring boundaries and challenging conventional notions of selfhood. It is possible that the work reflects a fascination with the Orient prevalent during the period, though it remains unclear whether this fascination is presented critically or uncritically. The sketch’s unfinished quality further invites interpretation; it leaves room for speculation about the artists intentions and the ultimate purpose of the design.