The beginning of the twentieth century is characterized in Russian art as the heyday of the still life genre. The exclusion of the plot, and sometimes any connection between the objects depicted on the same canvas, did not deprive the painting of meaning at all. Now the main focus was on color and shape. It is these two components that clearly dictate their properties in the work of Peter Konchalovsky "Still Life".
Among the many images of inanimate nature, the Still Life of 1911 is stylistically defined as a picture in the progressive direction of cubism. The largest object in the image is a large brown box, on it are square objects of yellow and blue color.
Nearby is a white rounded box. A little lower is a white bowl painted with a blue pattern and an empty fruit vase. Harmoniously placed on the left side of the picture are two shtofs made of transparent and greenish glass. This whole composition is located on the background of a dirty gray table and a saturated tone of red folded material.
A typical work in the style of cubism is original impressions arising from its contemplation. The sight captures not only the saturation of successive colors, but also a certain severity, visual significance of objects. Square, round and bottle-shaped things are written in such a way that, looking at them, you feel the difference in their textures: the boxes are rough, the dishes are clearly ceramic, the bottles are ringing and fragile.
Konchalovsky presents objects as given, without communication with a person. The background space does not attract his attention. Only the color sound and the sense of texture make up the essence of the Still Life painting. Having chosen objects for display to the audience that are mundane, even somewhat unappealing at first glance, the artist insists on their simple but confident picturesque beauty.