Baba in a red scarf. Study for the painting Pouring (1911 — 1914) Nikolay Feshin (1881-1955)

Here we observe a study depicting a figure enveloped in a vibrant red scarf. The composition is vertically oriented, concentrating attention on the subjects upper body and head. The background appears indistinct, rendered with broad strokes of ochre and yellow that create an atmospheric haze rather than a defined space.
The artist’s technique emphasizes texture and color over precise representation. Thick impasto application gives the surface a palpable physicality; brushstrokes are visible and contribute to the overall dynamism. The red scarf dominates the left side, its folds rendered with energetic marks suggesting movement and volume. It contrasts sharply with the muted tones of the figures clothing – a pale pinkish-white fabric that seems to cling loosely to the form.
The face is only partially discernible; features are suggested rather than meticulously detailed. This lack of specificity contributes to a sense of anonymity, transforming the subject into an archetype or symbol. The gaze appears directed downwards, conveying a mood of introspection or perhaps melancholy.
Subtly embedded within the composition are hints of domesticity. The figure’s attire and posture evoke associations with traditional female roles – a woman engaged in household tasks or contemplation. However, the intensity of the red scarf introduces an element of disruption, suggesting suppressed emotions or underlying tension. This interplay between conventional imagery and expressive color creates a complex emotional landscape within the small-scale work.
The study’s unfinished quality – the rough handling of paint, the lack of detailed rendering – suggests it is a preparatory sketch for a larger, more elaborate piece. It offers insight into the artists process, revealing how form and color were explored in pursuit of a final composition. The emphasis on gesture and emotional resonance over precise representation points toward an interest in conveying inner states rather than merely recording external appearances.