#43774 Boris Kustodiev (1878-1927)
Boris Kustodiev – #43774
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Painter: Boris Kustodiev
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Kustodiev, who was able to combine classical traditions with the national ideal of folk art in his work, did not refuse innovations created by modernism and impressionism either. The canvas is filled with bright contrasts of light and refinement of decorative stylization of external form. The artist seems to express his admiration for the vanishing fair and merchant culture of the people. The theme of folk festivals is reflected in many works of the author. The painting depicts the folk-church tradition of kissing during the greeting of the feast of Easter.
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Description of Boris Kustodiev’s painting "Easter Rite" (1916)
Kustodiev, who was able to combine classical traditions with the national ideal of folk art in his work, did not refuse innovations created by modernism and impressionism either. The canvas is filled with bright contrasts of light and refinement of decorative stylization of external form. The artist seems to express his admiration for the vanishing fair and merchant culture of the people. The theme of folk festivals is reflected in many works of the author.
The painting depicts the folk-church tradition of kissing during the greeting of the feast of Easter. The action of the scene takes place in a merchant’s house. A young girl is kissing a man who is old enough to be her father. He takes pleasure in this: the look on his face is heartwarming. The audience can’t see her face, but they can see her embarrassment, which the artist underlines with pinkish skin.
Details that the painter has a special attitude towards are painted thoroughly. The merchant is dressed in a long black caftan and wears shiny and polished boots. His hair with a straight parting and his beard also testify to his social status. The girl is dressed for the occasion in a sumptuous red silk dress trimmed with black lace, which has a white lace collar. Accurately arranged in a hairstyle blond hair on her head is covered by a coquettish hat. Complementing the outfit of a young lady thrown over her shoulders painted bright shawl with fringes in pink and greenish-yellow tones.
The man has already prepared a gift for Easter - a dyed egg, which he holds in his hand. The table is laid out in a festive way: on it there are all the traditional Easter dishes. Two kulich, decorated with flowers, and the consecrated custom of Easter curds. Nearby is a large dish with a whole heap of painted eggs in different colors. A roast pig and a waa with black caviar speak of prosperity in the house. Next to the wall with the patterned blue wallpaper and the painting hanging above, a whole battery of homemade liquors is lined up on the table. All the objects are painted with naturalistic precision.
The picture of the monumental festive folk ritual combines lubonic traditions with the highest museum classics. The viewer is captivated by the provincial atmosphere of folk rites and rituals.
COMMENTS: 2 Ответы
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Пышный, как московские хлеба
Мир Кустодиева – сдобный.
Сытая купецкая судьба.
Чаепитья стол весьма подробный.
Сок и смак, и райские цветы.
И Шаляпин в дорогущей шубе.
Небо в облаках – у высоты
Знание своё – что значат судьбы.
MERCHANT
1
Bearded, devout,
Spends three hours in prayer,
He doesnt see any prospects,
Otherwise – its a given,
A lie! Thats the merchant,
Hardworking, stubborn,
A fellow whos lived a bit,
Whos had his drink.
Easily goes to the grave.
2
In Pecherskys area, theres a dense darkness,
As thick as the forests themselves.
A forest spirit leads those over forty,
Or approaching sixty. The leshy is harsh.
But earthly oil ripens –
Will you reach for it, merchant?
He drives barges, full of goods,
They sail along the edge of the forest.
The house is large, with very reliable shutters,
And in the prayer room, theres a measured light.
Candlelight, lamps, all this is beautiful.
But somehow, theres no meaning to life.
Hes stout... To be strong, stout,
To barely know yourself completely.
In the end – it doesnt matter to be rich,
To suddenly realize it with darkness.
3
Merchants are like a kind of priesthood,
Money is an altar in the temple of merchants.
4
With squinting eyes, and oiled hair,
And hes cheated someone, the supplier.
If the fruits of profit become clear,
Theres no need to play the fool.
The barges are loaded with various goods,
And the water foams around them.
The merchant knows your needs,
But hes almost always with a profiteer.
5
In a quiet corner... The whole city rises from the ravine,
With houses and mezzanines –
A millionaire and a miller, very
Stern in character...
In the old church, theres a reliquary –
And someone who has been fasting for thirty days bows.
Hes great at trading, manages affairs,
Then he breaks down, throws money around,
Lives recklessly, a hostage to passions.
6
He conducted business sharply, was stern and domineering,
In the merchant club, after drinking, he sang,
He only snacked on pickled cabbage,
He considered himself respectable by his fate.
He added passenger shipping to trading,
And drank more and more, delved deeper into debauchery,
Was stern and domineering,
Thought hard, went crazy from the thoughts.
Donated to the monastery, prayed there.
And his heart was heavy.
But money – more money.
7
Its a bit dusty in the office,
The father is strict, and the son is downcast.
Whose voice is that in the corridor?
Someone enters, businesslike.
The son, with his mouth agape, listens
To the conversation, a languid son.
He pushes a fly with a feather.
Autumn. One would like to say – melancholy,
But such luxury is not for a merchant.
A gray light outside the window is similar to fog.
The merchants answer is sharp.
You cannot comment Why?
The setting is a richly appointed interior. A table laden with food occupies the central space – a variety of breads, fruits, and what appears to be cured meats are arranged in abundance. This display contributes to a sense of prosperity and celebration, yet it also introduces an element of potential excess. The wallpaper behind the figures features a complex floral pattern rendered in vibrant blues and pinks, adding to the overall feeling of opulence. A framed picture hangs above the table, its subject obscured but contributing to the sense of established domesticity.
The color palette is striking, with deep blacks and browns contrasting against the bright reds, pinks, and yellows of the woman’s dress and the surrounding decorations. This contrast draws attention to the figures and emphasizes their presence within the scene. The lighting appears somewhat artificial, flattening some details while highlighting others, which contributes to a slightly theatrical quality.
Subtextually, the painting seems to explore themes of age, desire, and social standing. The disparity in age between the two individuals hints at potential power dynamics or societal expectations surrounding marriage and relationships. The woman’s averted gaze and stiff posture suggest an internal conflict – perhaps a discomfort with the mans advances or a broader sense of unease within her circumstances. The lavish setting could be interpreted as either a symbol of comfort and security, or as a gilded cage that restricts the woman’s freedom. Ultimately, the work invites contemplation on the complexities of human connection and the nuances of social interaction within a specific cultural context.