Rural procession on Easter, Perov, 1861
- Author: Vasily Grigoryevich Perov
- Museum: Tretyakov Gallery
- Year: 1861
Overview of the painting :
Rural procession on Easter – Perov. 1861. Oil on canvas. 71.5×89
As soon as this work became available to the public, disputes around it do not subside. Some believe that the author brilliantly showed the real life of the church in Russian, while others accused the artist of bias and an attempt to humiliate Orthodoxy. This work of the artist did not leave anyone indifferent.
Before us is a “drunk” procession, which takes place at the end of the Easter service. The participants, apparently, are no longer entering the first house and managed to “take a good look”.
The attention of the viewer is riveted in the figure of the priest in festive vestments. Alcohol destroyed a man in him. The face is devoid of any expression, the eyes are practically not visible on the “tape” face.
To match your “pastory” and the flock itself. A young peasant woman who sang a prayer loudly, as if she was about to go in the opposite direction. The selected old man next to her keeps the icon face down, not paying any attention to it.
On the porch of the house, the mistress tries to bring her husband to life. Under the porch, someone fell asleep. In the center of the picture are three peasants in festive clothes. Two of them are drunk, the third, which is visible only from the back, sober. It is amazing how the artist managed to show his character’s back and make every spectator confident that this character is negatively related to what is happening.
The action takes place against the background of early spring morning. Under the feet of the participants is March dirt and puddles, above them is a cloudy, yellowish and the same dirty sky. The path to the church, seen in the distance, is very long. It is easy to imagine what the procession at the church gate will turn into.
On the other hand, the author carefully simplifies all the details associated with the cult. Not everyone will see the cross in the hands of the priest, the image is primitive, they do not reflect the faces. The artist talks about people, he does not seek to ridicule Orthodoxy itself. The purpose of his satire is an dishonest priesthood, not faith.