Shalun already frozen finger. Elizabeth Merkuryevna Boehm (Endaurova) (1843-1914)

The drawing presents a scene steeped in wintry melancholy. A young figure, bundled in heavy clothing – a thick coat and fur-lined hat – dominates the foreground. The posture is one of evident discomfort; the individual appears to be rubbing their hands together, suggesting an attempt to generate warmth against the biting cold. Their face is partially obscured by the upturned collar, but a hint of distress can be discerned in the visible portion.
The figure isnt alone. A dog sits beside them on what seems to be a small sled or cart, its head lowered and posture mirroring the person’s dejection. The animal’s presence introduces an element of companionship, yet it does not alleviate the overall sense of isolation.
Behind them stretches a snow-covered landscape, sparsely populated with buildings in the distance. These structures offer no immediate promise of refuge or comfort; they appear remote and indistinct within the vastness of the winter scene. The brushwork is loose and expressive, contributing to the feeling of bleakness and vulnerability. The color palette is muted – dominated by whites, grays, and browns – further reinforcing the atmosphere of cold and hardship.
The inscription at the top provides a textual context that deepens the interpretation. It speaks of frozen fingers and illness, hinting at a narrative of suffering and misfortune. This text suggests that the scene isnt merely an observation of winter’s harshness but rather a depiction of human vulnerability in the face of adversity. The drawing evokes themes of poverty, resilience, and the enduring bond between humans and animals amidst challenging circumstances.