It would seem that sculpture is inferior to painting in brightness and attractiveness, it is more difficult to perceive. A bright color spot on a plane attracts more attention and attention than a single-color volume.
The sculpture lives in space and you need to catch the light in order to see it. And if the sculptor is talented, then the figure comes to life under his hands and the material becomes malleable. In the 18th century, the traditions of woodcarving were strong enough, and a small wooden sculpture is visible only in Orthodox churches, hiding among icon paintings.
The first sculptor of Russia, Fedot Shubin, attended a true school in the homeland of the great scientist Lomonosov and on his land, among Pomeranian peasants, where traditions of bone carving were developed. From there the creative path of the sculptor went, and his fellow countryman Lomonosov helped him overcome this path.
The bust of the scientist was created from memory after the death of Lomonosov. The fates of two great people are unusually similar. Like Lomonosov in his youth, the sculptor Shubin took the same road from the Arkhangelsk province to conquer the capital and to develop his talent.
The bust is executed in plaster, which more subtly conveys the nuances, mood. Expressiveness is idealized, but not out of servile feelings, but there is the presence of sincere human sympathy. A property of Shubin's creativity is objectivity and a tendency to sympathize with his model, which was rare in the art of the Catherine’s century.
Custom idealization has always been alien to Shubin. He was a talented portraitist by nature, and thanks to his talent, he left a magnificent gallery of outstanding contemporaries. The portrait of Lomonosov in a cast is far from the classical canons that took place at that time. This is a voluminous and multidimensional image not only in terms of physical characteristics, but also psychologically and emotionally.