Nu. Study (1914) Nikolay Feshin (1881-1955)

The composition presents a figure viewed from behind, occupying most of the pictorial space. The subject appears to be reclining or bending forward, with their head turned slightly over their shoulder towards the viewer. A significant portion of the back and upper torso is visible, revealing a musculature rendered in broad strokes of ochre, pink, and beige. The artist has employed an impasto technique, creating a textured surface that emphasizes the physicality of the form.
The figure’s hair is dark and appears to be loosely arranged, falling across their shoulders and partially obscuring the nape of the neck. A small, pale object – possibly a basin or shallow dish – is positioned near the lower right corner of the canvas, its reflection subtly distorted in what seems to be a pool of liquid at the base of the composition. This area is painted with an energetic application of yellow and green hues, suggesting both light and shadow.
The background is indistinct, consisting primarily of muted tones that create a sense of depth without providing specific details. The overall effect is one of intimacy and introspection; the figure’s posture suggests vulnerability or contemplation. Theres a deliberate ambiguity in the depiction – the lack of clear context invites speculation about the narrative surrounding this moment.
The artist seems less concerned with precise anatomical accuracy than with conveying an emotional state through gesture and color. The rough, unfinished quality of the brushwork contributes to a sense of immediacy and spontaneity. It’s possible to interpret the work as exploring themes of solitude, self-reflection, or the complexities of human form within a private setting.