Forty white-sided. Elizabeth Merkuryevna Boehm (Endaurova) (1843-1914)

The composition presents a domestic interior rendered with a stark realism and a touch of grotesque exaggeration. Here we observe a group of peasants gathered around a roughly constructed hearth within what appears to be a dilapidated hut. The light source emanates from the fire itself, casting deep shadows that accentuate the figures gaunt features and emphasize the cramped nature of their surroundings.
The individuals depicted are characterized by an unsettling stillness; their expressions range from vacant stares to grimaces, contributing to an overall atmosphere of unease. Their clothing is threadbare and patched, indicative of poverty and hardship. The artist has paid particular attention to details such as the dirt under their fingernails and the wear on their garments, reinforcing the sense of a life lived in deprivation.
Flanking the central scene are textual elements written in Cyrillic script. These inscriptions seem to function as narrative captions or commentary, adding layers of meaning beyond the visual representation. The text on the left appears to describe an event involving a magpie and a jump over a log, while the right-hand side contains what seems to be a lament or complaint about various misfortunes. A large letter K is prominently displayed at the bottom center, accompanied by a phrase that translates roughly as “To whom in abundance, to whom in need, and to whom everything.”
The arrangement of elements suggests a deliberate attempt to juxtapose the harsh realities of peasant life with folklore and superstition. The magpie’s presence, often associated with trickery or misfortune in Slavic traditions, could be interpreted as an omen foreshadowing the groups plight. Similarly, the textual lamentations hint at a worldview shaped by hardship and resignation.
The overall effect is one of social commentary, exposing the vulnerability and precariousness of peasant existence while simultaneously hinting at their resilience through shared folklore and communal suffering. The artist’s choice to depict these figures with such unflinching realism, coupled with the inclusion of textual elements, suggests a desire to provoke reflection on themes of poverty, fate, and the human condition.