What does the viewer see? Randomly scattered objects surrounding a branch of bird cherry. White flowers are opposed to the ordinary and simplicity of the composition. The artist tries to present the usual things in a new way, resorting to the color and texture contrast of objects. Petrov-Vodkin paid special attention to the works in the still life genre and spoke of them as “one of the painter’s sharp conversations with nature”. And the truth is, despite the absence of a visible connection between the objects of composition, the picture radiates harmony.
The chaos captured on the table is viewed from above and clearly limited by the canvas. Things are connected by a single space. The “at a glance” view allows us to note the strict order and "independence" of objects in the arrangement. A book under a glass of water with a bright spot breaks through and violates the overall color scheme. A stained and uncleaned saucer with a spoon in the right corner seems superfluous. Two letters and an inkwell call for an answer. A small box lonely lays below, almost imperceptible at first glance at the drawing. And over all this “trash” is the fragrance and beauty of the flowers.
What is especially unique and vividly manifested in this work is a special version of the perspective conveyed by the artist. The whole still life is seen as if from above, an unusual three-dimensionality of the image is created. All the details of the group are interspersed, hiding one after another, but, along with this, are on the same plane. This is wrong, because it turns out that everything that is visible to the eye should slide down. But it is precisely in this opposition that the peculiarity of the picture and the work of Petrov-Vodkin are concluded. This creates the tension of the atmosphere and the elasticity of the space with which he juggles so skillfully.
Many did not accept and did not understand this vision of the master. But the artist remained true to himself, constantly in search of the so-called "moving" appearance. Petrov-Vodkin longed for the expansion of the artistic boundaries of his paintings. Moving away from the spherical and classical perspectives in creativity, he actually resorted to transforming the artistic world, extracting a new one by distorting and violating the correctness of the academic rules for building perspectives.
Domes And Swallows Yuon