Death Commissioner. 1927 Kuzma Sergeevich Petrov-Vodkin (1878-1939)
Kuzma Sergeevich Petrov-Vodkin – Death Commissioner. 1927
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Painter: Kuzma Sergeevich Petrov-Vodkin
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Download full size: 1000×813 px (0,2 Mb)
Painter: Kuzma Sergeevich Petrov-Vodkin
COMMENTS: 9 Ответы
прикольное задание с картинами!
картина не такая
мне нужно описание картины петрова-водкина "смерть комиссара"
где описание картины
где описание картины
где описание картины и картина чуть другая
где описание картины
Во первых почему нет описания картинын, во вторых картина вообще не та
The Death of the Commissar – Kuzma Sergeevich Petrov-Vodkin. 1928. Oil on canvas. 196 x 248 cm.
The painting The Death of the Commissar occupies a central place in Petrov-Vodkins creative period during the Soviet era. Its creation followed such significant works by the artist as After the Battle (1923). One of the main themes for Petrov-Vodkin, the themes of life, sacrifice, and death, were explored here for the first time through the images of heroes of the revolution.
This theme is most deeply embodied in the work The Death of the Commissar. The basis of the paintings plot is one of the episodes of the brutal battles of the Civil War. A mortally wounded commissar falls; his heavy body is supported by a Red Army soldier, and the unit of fighters continues to move forward. However, in accordance with the concept developed by the artist, the depicted scene goes beyond the factual and rises to a philosophical, symbolic meaning.
In this work, the authors artistic system finds its full expression, as well as his original understanding of pictorial space and color structure. Focusing on the main group, presented in close-up, the master reveals significant spatial depth in the painting, with distant settlements, smooth silhouettes of hills, and a blue ribbon of a river. It is as if through the eyes of the dying commissar that this world is seen, vast like a planet, yet at the same time close and tangible, intensely dynamic and frozen. Petrov-Vodkin abandons traditional linear perspective. The artist moves compositional viewpoints in a strict sequence, as if along the surface of a sphere, which gives him the greatest completeness of coverage. This technique of spherical perspective serves as an artistic metaphor, expressing in poetic form the authors philosophical position. The depicted event acquires a cosmic, universally human resonance. Here lies the key to understanding the paintings concept: the moment of the commissars death reveals the meaning of his life, the meaning of his heroic sacrifice, affirming the revolution.
Despite its multi-layered compositional structure, the painting is perceived as a plastic whole. This is largely due to the accurately found relationships between the silhouette outlines of the central group, the unit, and details of the landscape, as well as the unity of rhythmic organization.
Color plays a significant role in the imagery of the painting. The entire painting is executed in a harmonious combination of bluish-green and ocher tones. The colors of the painting emphasize the depth of space, highlight the main planes and groups, help to feel the lightness and transparency of the bluish haze, as well as the materiality and weight of objects and figures. A tense, dramatic chord sounds in the black combined with red in the figure of the commissar. The balance of the main color planes determines the integrity and decorativeness of the canvas. With the solemn beauty of the color structure, the artist affirms the moral beauty of the heroes, their feat.
This work summed up many artistic and philosophical quests by Petrov-Vodkin. In addition, it became one of the milestone works of Soviet art.
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Behind these two central figures, a group of uniformed men stands in formation, their faces largely obscured by shadow and distance. Their presence establishes the context as one of conflict or political upheaval. The uniforms are distinctive, featuring dark jackets with red accents on the sleeves and hats that suggest a specific ideological affiliation. A black hat lies discarded near the fallen man, potentially signifying a loss of authority or status.
The sky is rendered in broad strokes of grey and white, hinting at an overcast day or perhaps suggesting a sense of foreboding. The brushwork throughout the painting is loose and expressive, contributing to a feeling of immediacy and emotional intensity.
Subtleties within the scene invite multiple interpretations. The act of one figure attending to another could be read as compassion or duty, but the overall atmosphere suggests something more complex. The fallen man’s upward gaze might indicate resignation, appeal, or even defiance. The uniformity of the standing figures implies a system of control and potentially oppression, while the isolated position of the two foreground characters highlights their vulnerability within this larger structure.
The color palette is striking: the intense green of the field contrasts sharply with the darker tones of the uniforms and the pale complexion of the fallen man. This contrast draws attention to the fragility of life against a backdrop of political or military power. The painting, therefore, seems to explore themes of mortality, authority, and the human cost of ideological conflict, leaving room for contemplation on the nature of responsibility and the consequences of political action.