Head girl Vasily Ivanovich Surikov (1848-1916)

The composition presents two distinct depictions of a young womans head and shoulders, arranged side-by-side on a single plane. The left panel is executed in graphite, while the right utilizes watercolor washes. This juxtaposition immediately establishes a dialogue between different approaches to portraiture – one emphasizing meticulous detail and linear definition, the other prioritizing atmospheric effect and color modulation.
The graphite rendering displays a concentrated focus on capturing likeness. Fine lines delineate facial features: the shape of the nose, the curve of the lips, the subtle recession of the cheeks beneath the eyes. The subject wears spectacles, which are rendered with careful attention to their reflective qualities and the way they distort the view behind them. Her gaze is directed downwards, suggesting introspection or perhaps a degree of melancholy. A high-necked garment obscures much of her upper body, drawing focus to the face itself.
In contrast, the watercolor panel adopts a more impressionistic style. The artist employed loose brushstrokes to suggest form and volume rather than precisely define them. The color palette is restrained – primarily dark greens and browns for the clothing, with warmer tones for the hair. Here we see a similar downward gaze, but the overall effect is less somber; the looser application of paint lends a sense of immediacy and vitality. The hair appears more voluminous and textured, rendered through quick, overlapping strokes that convey movement.
The positioning of the two panels relative to each other invites comparison. The graphite drawing seems almost preparatory, a study from which the watercolor might have evolved. However, the differences are significant enough to suggest they are not simply sequential stages in a single process. Instead, they can be viewed as complementary explorations of the same subject – one emphasizing precision and psychological depth, the other capturing a fleeting moment of visual impression.
Subtly, the contrast between the two techniques might also speak to broader artistic concerns about representation itself. The graphite drawing embodies a traditional approach to portraiture, prioritizing accuracy and detail. The watercolor panel, on the other hand, hints at a more modern sensibility, one that values subjective perception and expressive brushwork over strict adherence to realism. The signature in the lower right corner provides a sense of authorship, anchoring these explorations within a specific artistic context.