Self 1. 1921 Kuzma Sergeevich Petrov-Vodkin (1878-1939)

The work presents a frontal portrait executed in a restricted palette of browns and ochres, with subtle hints of cream and grey. Here we see a man depicted from the chest upwards, his gaze directed squarely at the viewer. The composition is tightly cropped, eliminating any background detail and focusing entirely on the subject’s face and upper torso.
The artist employed a vigorous application of brushstrokes, creating a textured surface that emphasizes the physicality of the paint itself. These marks are not merely descriptive; they contribute to an overall sense of agitation and emotional intensity. The lines are often fractured and angular, particularly around the eyes and mouth, suggesting a troubled or conflicted state of mind.
The man’s features are rendered with a degree of realism, yet distorted by the expressive brushwork. Deep furrows etch themselves into his brow and around his mouth, conveying an impression of weariness and perhaps even suffering. The eyes possess a penetrating quality, seemingly fixed on some distant point beyond the viewers reach.
The clothing appears simple – a dark turtleneck sweater – which further concentrates attention on the face. A signature is visible in the lower right corner, indicating the year 1921.
Subtextually, the painting seems to explore themes of introspection and psychological vulnerability. The direct gaze establishes an unsettling intimacy with the subject, inviting the viewer to confront his emotional state. The lack of context or background isolates him, suggesting a sense of alienation or solitude. The agitated brushwork implies an internal struggle, hinting at anxieties or burdens carried by the individual. It is not merely a likeness; it’s a visual exploration of inner turmoil and self-perception.