1918 in Petrograd - Kuzma Sergeevich Petrov-Vodkin. 73 x 92
The painting is also known under a big name. "Petrograd Madonna" and is one of the most famous and significant in the work of Kuzma Petrov-Vodkin. The painting-era, a historical symbol that tells us about the moods and events of a revolutionary city, is striking in its reality and simplicity.
At the center of the work is a simple woman in a snow-white shawl, clutching a baby to her chest. Her face is like an icon-painted face, and her eyes read wariness and humility. The kid in his arms is clearly the same age as the crucial events of 1917. How many such mothers and children? However, despite the apparent simplicity, the figures of the characters are read by the viewer as symbolic and symbolic.
The heroine is perceived as the mother of all children, a silent witness to the terrible events that threw many destinies under the moss of history, giving rise to fears, poverty and destitution. Incredible in terms of impact, the work of the painter! Some critics personify this woman with Russia of that period, and there are those who believe that the image is a harbinger of the more famous idiom "Motherland", which will be lobbied much later.
The background of the picture is also very talking. An attentive viewer will notice here the leaflets flaunting on the walls - eyewitnesses of those events recalled how they were greeted at every turn with taped walls and revolutionary manifestos. And the crowds look very confused and thoughtful. Gathering in groups, people discussed among themselves pressing issues (for example, where to get bread), shared news and rumors.
The streets of the city look too wide and from this even more deserted, and the houses are austere and gloomy. In some places one can see broken glasses talking about the riot of the crowd. Most likely, people with all the power of their righteous anger smashed the administrative buildings of the interim government.
In general, the architecture of the city in the picture looks majestic and refers to painting of the Renaissance. This interpretation is true and not accidental. So, Vladislav Khodasevich, a poet and famous Pushkinist, witness of revolutionary events, insisted that Petrograd "was surprisingly prettier in his misfortune." Petrov-Vodkin also felt this.
The painting "1918 in Petrograd" is a cruel statement of facts. But against the backdrop of devastation and some ringing confused silence, the image of mother and baby, as a source of inexhaustible life, predicts that the future exists, albeit not so cloudless. The heroes of the picture are a symbol of hope, desperate and humble.