The resting Negro Marrakech Zinaida Serebryakova (1884-1967)

Here we observe a pastel drawing depicting a reclining female figure. The subject is positioned diagonally across the composition, her body angled towards the viewer while her gaze directs outward. She rests upon what appears to be a loosely draped textile, its folds rendered in shades of blue and orange that contrast with the warm tones of her skin. A patterned headscarf, predominantly red and white, covers her hair and partially obscures the forehead. Her left hand is raised, supporting her upper body while the right arm lies along her side.
The artist’s handling of pastel creates a sense of immediacy and spontaneity. Lines are loose and expressive, contributing to a feeling of relaxed observation rather than meticulous detail. The figures skin tones range from deep browns to lighter ochres, suggesting both direct sunlight and subtle variations in pigmentation. The background is indistinct, composed of muted blues and greens that evoke a landscape – possibly mountainous – seen through a hazy atmosphere. This backdrop serves primarily as a tonal foil for the figure’s warm hues.
The subtexts within this drawing are complex and potentially problematic when considered through a contemporary lens. The depiction of a nude woman, particularly one identified by the artists inscription as Negro, immediately raises questions about representation and power dynamics. The posture – reposed and seemingly vulnerable – could be interpreted as an objectification, reinforcing colonialist tropes that exoticize and sexualize individuals from non-European cultures. However, it is also possible to view the work as a study of human form and expression, albeit one deeply embedded within its historical context.
The headscarf introduces another layer of interpretation. While it could be seen as an attempt at cultural specificity, it simultaneously functions to partially conceal the subject, potentially reinforcing notions of difference or otherness. The direct gaze challenges passive observation; she is not merely a decorative object but appears to acknowledge the viewer’s presence.
Ultimately, this drawing presents a visual document that demands critical engagement. It encapsulates both artistic skill and the problematic assumptions prevalent in its time, prompting reflection on the ethics of representation and the enduring legacy of colonial perspectives.