The last zucchini at the outpost, B. G. Perov, 1868

The last zucchini at the outpost, B. G. Perov, 1868
The last zucchini at the outpost, B. G. Perov, 1868 - 1

  • Author: Vasily Grigoryevich Perov
  • Museum: Tretyakov Gallery
  • Year: 1868

Overview of the painting :

The last tavern at the outpost is Vasily Grigoryevich Perov. 1868. Oil on canvas. 51.1×65.8

   Creativity B. G. The feather (1833 (1834) – 1882) in the late 1860s underwent a number of stylistic changes: the artist refuses a large number of characters, grotesque, sharp accusatory characteristics and color variegation. The palette is complicated, and the disclosure of the plot is achieved thanks to a coloristic decision corresponding to the psychological attitude and picturesque expression. The early paintings of the painter are imbued with an anecdotal “policy” mood and are picturesque cartoons, including the clergy. However, the satirical mood has weakened over the years, it was replaced by dramatic expression and psychological generalization, which have reached universal proportions.

   The work is written in gloomy tones, only the flashes of fire in the windows seem to be trying to get out and create a general alarming mood. Cabac and the church are two places where a person can warm himself in a winter cold. The first, according to Perov himself, is a “depraved den”, the hellish fire of which filled all the floors of the houses. The dense snow, randomly cut by the stripes of the sled near the tavern, and the dirt road drawn, which runs away from the church, eloquently testify to which refuge the travelers still chose for themselves. Here, peasants drink money earned per day. And, apparently, a peasant woman who has eaten up in a sleigh, freezing from the long wait of the peasant woman, is waiting for her.

   From the picture blows cold, warm shades are present only in the image of a zucchini and a fragment of a dull sky that turns yellow over the barely visible church. Dark gray, black and brown tones only increase the feeling of hopelessness and tragedy, because there is not a single gap in the whole space, as there is no gap in the fate of people.

   The canvas no longer exposes vices and social ulcers, but states the bitter truth about the impossibility of changing life in their native country.