Portrait Rhee (Portrait of AA Kholopova). 1915 Kuzma Sergeevich Petrov-Vodkin (1878-1939)

The composition presents a bust-length portrait of a young woman, rendered in a style characterized by flattened planes and simplified forms. The subject is positioned centrally within the frame, her gaze directed towards the viewer with a directness that establishes immediate engagement. Her features are idealized; the skin appears smooth and pale, accentuated by rosy cheeks and full lips painted in a muted red hue. A cascade of blonde hair, intricately braided, frames her face and falls onto her shoulders.
The artist has employed a limited palette dominated by cool tones – lavender, blue-grey, and white – which contribute to an overall sense of quiet introspection. The background is not depicted realistically but rather as a series of overlapping geometric shapes, creating a textured surface that seems to push the figure forward. These forms lack depth or perspective, reinforcing the two-dimensionality characteristic of the style.
The woman’s posture further enhances this impression. She rests her chin on one hand, an action which conveys a sense of pensiveness and perhaps even melancholy. The gesture is somewhat theatrical, suggesting a carefully constructed pose rather than a spontaneous moment. This deliberate arrangement contributes to the feeling that the portrait aims not simply to record likeness but also to explore psychological states.
Subtleties in the execution hint at underlying complexities. While the face appears serene, there’s a slight tension visible around the eyes and mouth – a suggestion of suppressed emotion or inner conflict. The stark contrast between the pale skin and the darker background draws attention to her features, isolating her within the composition.
The overall effect is one of restrained elegance and psychological depth. It suggests an interest in portraying not just outward appearance but also a sense of interiority, albeit filtered through a stylized and somewhat detached aesthetic. The work seems less concerned with capturing photographic realism than with conveying a mood or exploring the symbolic potential of portraiture.