New and old year. Cover of the timesheet-calendar for 1905 Konstantin Andreevich Somov (1869-1939)

The composition presents a complex allegorical scene, densely populated with symbolic figures and objects arranged around a central calendar sheet. The overall impression is one of satirical commentary on societal structures and the passage of time.
On the left side of the canvas, a woman cradles an infant who wears a blindfold. This pairing immediately introduces themes of innocence, obscured vision, or perhaps willful ignorance regarding the realities of the world. Her attire suggests a certain social standing, yet her posture conveys a sense of resignation rather than triumph. The presence of potted plants near her further emphasizes a cultivated domesticity that seems somewhat detached from the surrounding chaos.
Dominating the center is a large calendar sheet, meticulously detailed with text and numerical data. This serves as the focal point, representing the relentless march of time and the bureaucratic systems that attempt to measure and control it. Above the calendar, a figure resembling Harlequin or another commedia dellarte character appears suspended from a clock, suggesting the artificiality and performative nature of societal roles. The clock itself is frozen at a specific moment, hinting at stagnation or an inability to move forward.
To the right, an elderly man in clerical garb stands with his hand outstretched towards the calendar. His expression is unreadable, but his posture suggests either a gesture of blessing or perhaps a more cynical endorsement of the system he represents. The patterned wallpaper behind him contributes to the sense of confinement and established order.
The color palette is muted, dominated by browns, grays, and yellows, which reinforces the somber mood. However, flashes of red in the drapery and other details draw attention to specific elements and add a layer of visual complexity. The artist employed a somewhat flattened perspective, contributing to the feeling that everything is presented as a stage set or tableau.
Subtly woven into this elaborate arrangement are critiques of authority, societal expectations, and the illusion of control over time. The blindfolded infant suggests a future generation unaware of the forces shaping their world, while the frozen clock implies an inability to escape the constraints of established systems. Ultimately, the work appears as a commentary on the complexities of human existence within a rigid social framework, using allegory and symbolism to convey its message.