Bird cherry in a glass. 1932 Kuzma Sergeevich Petrov-Vodkin (1878-1939)
Kuzma Sergeevich Petrov-Vodkin – Bird cherry in a glass. 1932
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Painter: Kuzma Sergeevich Petrov-Vodkin
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What appears to the viewer’s eyes? Chaotically scattered objects surrounding a sprig of bird cherry. The white flowers are contrasted with the ordinariness and simplicity of the composition. The artist tries to present familiar things in a new way, resorting to color and texture contrasts of objects. Petrov-Vodkin paid particular attention to his works in the genre of still life and described them as "one of the sharp conversations of a painter with nature.
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Description of Kuzma Petrov Vodkin’s painting "Cherry Tree in a Glass".
What appears to the viewer’s eyes? Chaotically scattered objects surrounding a sprig of bird cherry. The white flowers are contrasted with the ordinariness and simplicity of the composition. The artist tries to present familiar things in a new way, resorting to color and texture contrasts of objects. Petrov-Vodkin paid particular attention to his works in the genre of still life and described them as "one of the sharp conversations of a painter with nature. And indeed, despite the lack of apparent connection between the objects of the composition, the painting radiates harmony.
The chaos depicted on the table is viewed from above and clearly bounded by the canvas. Things are connected by a single space. The "as if in the palm of one’s hand" view allows one to note the strict order and "independence" of the objects in the arrangement. The book under the glass of water bright spot breaks through and disrupts the overall color scheme. The stained and untidy saucer and spoon in the right corner seem superfluous. Two letters and an inkwell call for writing a response. A small box lies lonely at the bottom, almost unnoticeable at first glance of the drawing. And over all this "junk" stretches the fragrance and beauty of flowers.
What is particularly unique and vivid in this work is a special variant of perspective given by the artist. The whole still life is seen as if from above, creating an unusual three-dimensionality of the image. All the details of the group are interspersed, hiding behind one another, but at the same time, they are on one plane. This is wrong, because it turns out that everything that is visible to the eye must roll down. But it is in this opposition that the peculiarity of the painting and the work of Petrov-Vodkin lies. This generates the tension of the atmosphere and the elasticity of the space that he so skillfully juggles.
Many did not accept or understand this vision of the master. But the artist remained true to himself, constantly in search of the so-called "moving" visibility. Petrov-Vodkin longed to expand the artistic boundaries of his canvases. Departing from spherical and classical perspectives in his work, he resorted, in fact, to the transformation of the artistic world, extracting the new by distorting and violating the correctness of the academic rules of perspective construction.
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The painting Bird cherry in a glass. 1932 by Pavel Filonov is a still life composed of several objects arranged on a dark blue surface, likely a tablecloth. The central focus is a glass of water containing delicate white bird cherry blossoms and some green leaves. To the left of the glass, two envelopes are placed, one predominantly blue and another a lighter, cream color with visible writing and stamps. Above them, a metallic, cubed object, possibly an inkwell or a decorative box, sits prominently. To the right of the bird cherry, a white plate with a spoon resting in it is depicted. The entire composition is laid out on what appears to be an orange-bound book or journal, with some of the text, LART VIVAN, visible. A small blue matchbox is positioned in the lower right corner, and a few stray green leaves are scattered across the orange surface. The lighting in the painting casts shadows, particularly a distinct one from the glass and blossoms onto the orange book, adding depth and dimension to the still life.
The subtexts of this painting can be interpreted in several ways. Filonov, known for his analytical art and theories, often infused his works with symbolic meaning. The bird cherry blossoms, in bloom, can represent a fleeting moment of beauty or the arrival of spring, symbolizing natures cycle and renewal. Their fragility, combined with being placed in simple glass, might suggest the preciousness and ephemerality of life and beauty. The envelopes and stamped mail hint at communication, connection, and perhaps distant relationships or unspoken messages – elements of human interaction and the passage of time. The metallic box, with its hard lines and reflective surface, could represent man-made order, knowledge, or even containment, contrasting with the organic softness of the flowers. The book or journal with visible text (LART VIVAN - Living Art) directly references art and intellectual pursuits, positioning the other elements within a context of artistic contemplation or the study of life itself. The plate and spoon are everyday objects, grounded in domesticity and sustenance, suggesting the grounding of art and life in the tangible realities of existence. The matchbox, a small, functional item, could symbolize potential, ignition, or even a spark of creativity, or perhaps a mundane, everyday element juxtaposed with more symbolic items.
Filonovs style, often characterized by his meticulous detail and symbolic layering, encourages viewers to look beyond the literal representation of objects. The arrangement itself, with its seemingly casual yet deliberate placement, invites contemplation on themes of memory, transience, the intersection of nature and human endeavor, and the very essence of artistic perception. The overall subdued yet rich color palette and the interplay of light and shadow contribute to a contemplative and somewhat introspective mood.