Housewarming (Work Petrograd). 1937 Kuzma Sergeevich Petrov-Vodkin (1878-1939)
Kuzma Sergeevich Petrov-Vodkin – Housewarming (Work Petrograd). 1937
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Painter: Kuzma Sergeevich Petrov-Vodkin
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Kuzma Petrov-Vodkin’s idea was extremely simple and realistic: the end of the Civil War of the early 20th century, the distribution to toilers and soldiers of apartments formerly owned by the bourgeoisie. One such apartment, received by a young man sitting at a table with a pipe in his hands. Housewarming. Let’s look at some particularly important fragments of the canvas. To the right of the new landlord sits a man raising his hand.
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Description of Kuzma Petrov Vodkin’s painting "Novoselty".
Kuzma Petrov-Vodkin’s idea was extremely simple and realistic: the end of the Civil War of the early 20th century, the distribution to toilers and soldiers of apartments formerly owned by the bourgeoisie. One such apartment, received by a young man sitting at a table with a pipe in his hands. Housewarming.
Let’s look at some particularly important fragments of the canvas.
To the right of the new landlord sits a man raising his hand. This is the main narrator. Notice, not the host, not his occupancy is discussed, but some of the experiences and stories of the man with his hand raised.
Behind the window clearly looks Peter and Paul Fortress, which means that the house is an elite, because it stands at the Palace embankment. However, whether the bourgeois can be poor hut!
Near the stove, on which the kettle is heating (and what do you want, the war has just ended, and many and many works to restore normal life, such as putting glass in place of plywood over the head of the young man at the window), stands a former veteran, a survivor, but with a broken arm, and beside stands a modest woman in a pink dress. They are secluded, despite the fact that they are in society, and are cooing.
The nursing mother sitting by the bourgeoisie is a clear reference to the Madonna, no matter which artist - any artist!
There are also several comparisons in the painting between the lavish arrangements of the former owner and the simple life of the latter: an expensive chair (empty, by the way!) and a wooden stool; a good rug and a cheap little rug; luxurious paintings in gilt frames and a poor table (I mean a feast) for the occasion; a huge luxury truce crossed by an almost rusty pipe.
In the upper right corner hangs an empty frame. In fact, it is a frame, only the icons are no longer provided for there.
By all indications, it is obvious that the artist had planned everything beforehand and carefully prepared, where to place whom and what, and then painted according to the plan. It turned out well, a lot of characters, different and at the same time the same, living the same idea, a lot of household items, the only drawback is the color scheme of the entire composition: like a housewarming party - and all a little dull, dull ...
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Light streams through large windows positioned centrally, illuminating the scene and creating a contrast between the brightly lit interior and the darker exterior visible beyond. This light emphasizes the faces and gestures of those present, drawing attention to their expressions and interactions. The view from the window reveals a cityscape, hinting at an urban setting and potentially symbolizing progress or modernization.
The figures are rendered with varying degrees of detail and individuality. Some appear more formally posed, while others seem caught in spontaneous moments of interaction. A man seated at the head of the table appears to be offering a toast or blessing, his hand raised in a gesture that suggests leadership or authority. Several women, dressed in vibrant colors like red and pink, are clustered together, cradling infants and engaging in quiet conversation. Younger men stand near the windows, some with hands clasped behind their backs, exhibiting an air of youthful confidence.
The interior is decorated with framed portraits on the walls, adding a layer of personal history and suggesting familial connections or aspirations for social standing. A small decorative shelf holds porcelain figurines and other trinkets, hinting at domestic comfort and refinement. The overall impression is one of carefully constructed realism, aiming to portray an idealized vision of Soviet society – a collective celebrating new beginnings within a modern urban environment.
Subtleties in the composition suggest complexities beneath the surface of this seemingly straightforward depiction. The density of figures creates a sense of confinement, potentially hinting at the pressures of communal living or social expectations. The formal poses and carefully arranged details might also imply a degree of artificiality, suggesting that the scene is staged to project a particular image rather than reflecting spontaneous reality. The presence of older individuals alongside younger ones could be interpreted as representing the continuity of generations within the new Soviet order. Ultimately, the painting presents a nuanced portrayal of social life in a specific historical context, inviting viewers to consider both its celebratory aspects and underlying tensions.