Monday, 28 July 2008
Zinaida Serebryakova. The Breadseller from the Rue Lepic. 1927
The Breadseller from the Rue Lepic (Zinaida Serebryakova, 1927)
This is a work dating from the time of her Paris life in the emigration. Again, we see the concern for the dignity of the “common man” (or, should we say, “common woman”). There is a strength and groundedness in this portrayal. You are not going to fool her, thank you very much!
Zinaida Serebryakova. On the Terrace in Kharkov. 1919
On the Terrace in Kharkov (Zinaida Serebryakova, 1919)
You would hardly guess from the quiet and normal domestic scene that this is in the midst of the calamity of the Civil War, and that Ms Serebryakova and her family had been forced to move several times. Life DOES go on despite it all, and the children are the least affected. Would we be able to paint such a tableaux in the midst of such tempestuous times? A good question…
Zinaida Serebryakova. Tata and Katia (In the Mirror). 1917
Tata and Katia (In the Mirror) (Zinaida Serebryakova, 1917)
Serebryakova was the mistress of the domestic, familial, and homely (in the English sense). This scene dates from the year of the two revolutions, but, these political upheavals did not affect ordinary life at first. Their domestic tranquility is not to last, though…
Zinaida Serebryakova. Peasants at Lunch. 1914
Peasants at Lunch (Zinaida Serebryakova, 1914)
Here is a painting that illustrates the common and shared dignity and humanity of all people. They are humble, but, they have no pretense about themselves, and there is a simplicity and honour in their attitude. Here are two people who know which end is up, and they don’t need a facilitator to give them lessons! I say that 10 peasants are worth 100 professors.
