Born 1878, Khvalynsk - Died 1939, Leningrad
Painter, graphic artist, educator, theoretician and writer
Paintings Graphic Work
Illustrations Theatre Biography 
Paintings
In the Artist's Studio. 1901.
Oil on canvas, 61x45.5 cm.
Collection of I.I.Paleyev family, St.Petersburg.
A Model in Colarossi's Studio. 1907.
Crayons and charcoal pencil on paper, 61x47 cm.
Collection of I.A. & Y.A.Rzhevsky, St.Petersburg.
Café. 1907.
Oil on canvas, 130x98 cm.
The State Russian Museum, St.Petersburg. Received in 1920 from collection of A.Korovin.
Theatre. Farce. 1907.
Oil on canvas, 64x80.5 cm.
The State Tretyakov Gallery, Moscow. Received in 1968 from the Ministry of Culture, Moscow; earlier from the collection of S.Pkhakadze.
Theatre. Drama. 1907.
Oil on canvas, 65x81 cm.
The State Tretyakov Gallery, Moscow. Received in 1968 from the Ministry of Culture, Moscow; earlier from the collection of S.Pkhakadze.
Paintings Graphic Work Illustrations Theatre Biography Top of Page
Portrait of Maria Fedorovna Petrova-Vodkina, the Artist's Wife. 1907.
Oil on canvas, 80x65 cm.
The State Russian Museum, St.Petersburg. Received in 1961 from collection of N.Yakovleva.
A Negro Village. 1907.
Oil on canvas, 37x49 cm.
The State Russian Museum, St.Petersburg. Received in 1939 from collection of I.Yosefovich.
An Algerian Woman. 1907.
Watercolor and pencil on paper, 24.5x31 cm.
Collection of N.Silina, St.Petersburg.
Negress. Study for the painting "Family of Nomads (African Family)". 1907.
Oil on canvas, 48x37 cm.
The State Russian Museum, St.Petersburg. Received in 1926 from Museum of Art Culture, Leningrad.
Kiss. Study for painting of the same title. 1907.
Watercolor and pencil on paper, 30.1x22.8 cm.
Collection of I.Ezrakh, St.Petersburg.
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View of Musee Cluny in Paris. 1908.
Oil on canvas, 65x49 cm.
The State Russian Museum, St.Petersburg. Received in 1920 from the Artist.
Desert at night. 1908.
Oil on canvas, 37.5x48.5 cm.
The State Tretyakov Gallery, Moscow. Received in 1933 from the Artist.
The Beach. 1908.
Oil on canvas, 128x159 cm.
The State Russian Museum, St.Petersburg. Received in 1934 from collection of E.Bazilevich.
Old Women. 1909.
Oil on canvas, 96x106 cm.
Collection of V.Kunin, St.Petersburg.
Portrait of Anna Panteleevna Petrova-Vodkina, ne Petrova, the Artist's Mother. 1909.
Oil on canvas, 48x37 cm.
The State Russian Museum, St.Petersburg. Received in 1941 from Leningrad Purchasing Committee.
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Sleeping. 1910.
Oil on canvas, 161x187 cm.
The State Russian Museum, St.Petersburg. Received in 1921 from Petrograd Society for Supporting Artists.
Banishment from the Garden of Eden. 1911.
Oil on canvas, 183x160 cm.
Collection of I.I.Paleyev family, St.Petersburg.
Boys (Playing Boys). 1911.
Oil on canvas, 123x157 cm.
The State Russian Museum, St.Petersburg. Received in 1920 from collection of A.Korovin.
Monumental head (head of an Arab). 1910-1911.
Oil on canvas, 132x96 cm.
Collection of A.Chudnovsky, St.Petersburg.
Bathing of the Red Horse. 1912.
Oil on canvas, 160x186 cm.
The State Tretyakov Gallery, Moscow. Received in 1961 from the collection of K.Basevich.
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Landscape on the Don River. 1912.
Oil on canvas, 88x103 cm.
The State Tretyakov Gallery, Moscow. Received in 1961 from the collection of K.Basevich.
Mill. 1912.
Oil on canvas, 84x99 cm.
Collection of N.Silina, St.Petersburg.
Portrait of a Young Boy. 1913.
Oil on canvas, 80x64cm.
Perm Art Museum. Received in 1945 from Department of Arts at SOVNARKOM RSFSR.
Portrait of Maria Fedorovna Petrova-Vodkina, the artist's wife. 1913.
Oil on canvas, 67.5x58 cm.
The State Tretyakov Gallery, Moscow. Received in 1961 from the collection of K.Basevich.
Mother. 1913.
Oil on canvas, 102.5x134.6 cm.
The State Tretyakov Gallery, Moscow. Received in 1961 from the collection of N.Nekrasov.
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Destruction (Hurricane). Sketch of composition. 1914.
Graphite pencil and watercolor on paper, 26.3x35.3 cm.
The State Russian Museum, St.Petersburg. Received in 1920 from the Artist.
The Virgin of Tender Emotion for Wicked Hearts. 1914-1915.
Oil on canvas, 96x120 cm.
The State Tretyakov Gallery, Moscow. Received in 1919 from the Artist.
Head of Youth. 1916.
Charcoal pencil and watercolor on paper, 33.2x22 cm.
Collection of I.I.Paleyev family, St.Petersburg.
A Thirsty Warrior. 1915.
Oil on canvas, 65.3x105 cm.
The State Russian Museum, St.Petersburg. Received in 1964 from the State Hermitage (previously in the collection of F.Notgaft).
Girls on the Volga. 1915.
Oil on canvas, 96x120 cm.
The State Tretyakov Gallery, Moscow. Received in 1919 from the Artist.
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Violin in a case. 1916.
Oil on canvas, 54x88 cm.
Odessa Art Museum.
Morning. Bathing Women. 1917.
Oil on canvas, 161x129 cm.
The State Russian Museum, St.Petersburg. Received in 1919 from the Artist.
Midday. 1917.
Oil on canvas, 80x128.5 cm.
The State Russian Museum, St.Petersburg. Received in 1926 from Moscow Committee of Art.
Apples. 1917.
Oil on canvas, 41.5x58 cm.
The State Russian Museum, St.Petersburg. Received in 1964 from the State Hermitage (previously in the collection of F.Notgaft).
Self Portrait. 1918.
Oil on canvas, 71x53 cm.
The State Russian Museum, St.Petersburg. Received in 1924 from Leningrad Museum Department at Lensovet.
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Violin. 1918.
Oil on canvas, 65x80 cm.
The State Russian Museum, St.Petersburg. Received in 1926 from Museum of Art Culture, Leningrad.
Salted Fish. 1918.
Oil on oil-cloth, 58x88.5 cm.
The State Russian Museum, St.Petersburg. Received in 1933 from the Jubilee Exhibition "15 years of RSFSR Artists".
Still Life in Pink. 1918.
Oil on canvas, 57.5x71cm.
The Tretyakov Gallery, Moscow. Received in 1920 from the Artist.
Morning Still Life. 1918.
Oil on canvas, 66x88 cm.
The State Russian Museum, St.Petersburg. Received in 1926 from Museum of Art Culture, Leningrad.
Still life with a mirror. 1919.
Oil on canvas, 50x60 cm.
The State Picture Gallery, Yerevan. Received in 1925 from Leningrad Museum Fund.
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A Small Dog. 1919.
Oil on canvas, 64x50cm.
The I.Brodsky Museum, St.Petersburg.
1918 in Petrograd (Petrograd Madonna). 1920.
Oil on canvas, 73x92 cm.
The Tretyakov Gallery, Moscow. Received in 1920 from the Artist.
Still Life With a Blue Ashtray. 1920.
Oil on canvas, 37.6x48 cm.
Collection of V.Kunin, St.Petersburg.
Still Life. Flowers and a woman's head. 1921.
Oil on canvas, 63x52 cm.
The State Russian Museum, St.Petersburg. Received in 1984 from the collection of G.Levitin.
Shakh-i-Zinda (Samarkand). 1921.
Oil on canvas, 75.5x68 cm.
The State Russian Museum, St.Petersburg. Received in 1940 from Leningrad Museum Department at Lensovet.
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Head of an Uzbec boy. 1921.
Oil on canvas, 45.6x46 cm.
The State Russian Museum, St.Petersburg. Received in 1945 from the Artist's family collection.
Violin. 1921.
Oil on canvas, 37.5x48 cm.
Collection of G.Belyakov, Moscow.
Wine glass and lemon. 1922.
Oil on canvas, 37x48 cm.
Collection of P.Kornilov, St.Petersburg.
Portrait of N.L. (Portrait of a Woman). 1922.
Oil on canvas, 47,5 x 37.
Deineka Kursk Regional Picture Gallery.
Portrait of The Poet Anna Andreyevna Akhmatova. 1922.
Oil on canvas, 55.5x43.5 cm.
The State Russian Museum, St.Petersburg. Received in 1933 from the Jubilee Exhibition "15 years of RSFSR Artists".
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Portrait of the Artist's Daughter. 1923.
Oil on canvas, 37x37 cm.
The State Russian Museum, St.Petersburg. Received in 1958 from the Artist's family collection.
Sleeping baby. 1924.
Oil on canvas, 46x54.5 cm.
The State Museum of Art in Turkmenstan, Ashkhabad.
First Steps. 1925.
Oil on canvas, 82x65 cm.
The State Russian Museum, St.Petersburg. Received in 1933 from the Jubilee Exhibition "15 years of RSFSR Artists".
Fantasy. 1925.
Oil on canvas, 50x64.5 cm.
The State Russian Museum, St.Petersburg. Received in 1933 from the Jubilee Exhibition "15 years of RSFSR Artists".
Still Life with Letters. 1925.
Oil on canvas, 42x53 cm.
Collection of V.Bakidin, Moscow.
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In Shuvalovo. 1926.
Oil on canvas, 44.5x60 cm.
The State Russian Museum, St.Petersburg. Received in 1933 from the Jubilee Exhibition "15 years of RSFSR Artists".
Bathing Boys. 1926.
Oil on canvas, 82x65.5 cm.
The State Russian Museum, St.Petersburg. Received in 1930 from the Kuindzhi Society, Leningrad.
Self Portrait. 1926-1927.
Oil on canvas, 80.5x65 cm.
The State Russian Museum, St.Petersburg. Received in 1931 from the Academy of Arts' Museum, Leningrad.
Earthquake in the Crimea. 1927-1928.
Oil on canvas, 95.5x120cm.
The Russian Museum, St.Petersburg. Received in 1933 from the Jubilee Exhibition "15 years of RSFSR Artists".
Morning in the Country (Spring in the Country). Sketch for painting of the same title, never executed. 1928.
Watercolor and whitening on paper, 25.3x22.7 cm.
The Tretyakov Gallery, Moscow. Received in 1927 from the Artist's family collection.
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Portrait of the Writer Sergey Dmitrievich Mstislavsky. 1929.
Oil on canvas, 75x58 cm.
The Tretyakov Gallery, Moscow. Received in 1947 from Moscow Committee of Art.
An apple and a Lemon. 1930.
Oil on canvas, 42.5x56 cm.
The Russian Museum, St.Petersburg. Received in 1933 from the Jubilee Exhibition "15 years of RSFSR Artists".
Still Life. Bird Cherry In a Glass. 1932.
Oil on canvas, 72x60 cm.
The Russian Museum, St.Petersburg. Received in 1933 from the Jubilee Exhibition "15 years of RSFSR Artists".
Portrait of the Writer Andrei Bely. Study for group portrait of Writers (A.Tolstoy, A.Bely, V.Shiskov, K. Fedin and others), uncompleted. 1932.
Oil on canvas, 55x46 cm.
The State Picture Gallery, Yerevan. Received in 1939 from the Artist.
Family Portrait (Self Portrait With Wife and Daughter). 1933.
Oil on canvas, 65x85 cm.
Collection of I.Afanasiev family, St.Petersburg.
Paintings Graphic Work Illustrations Theatre Biography Top of Page
1918. Bombing Alarm. 1934.
Oil on canvas, 169x138 cm.
The State Russian Museum, St.Petersburg. Received in 1940 from Leningrad Museum Department at Lensovet.
Fishing. Study. 1934.
Oil on canvas, 47x60 cm.
Collection of V.Novozhilov, St.Petersburg.
Spring. 1935.
Oil on canvas, 186x159 cm.
The State Russian Museum, St.Petersburg. Received in 1940 from Leningrad Museum Department at Lensovet.
Portrait of the Artist's Daughter. 1935.
Oil on canvas, 83.5x65 cm.
The State Russian Museum, St.Petersburg. Received in 1936 from the Artist.
Pushkin in Petersburg (Pushkin on the Neva River). 1937-1938.
Oil on canvas, 71x54 cm.
The State Museum of A.S.Pushkin, Moscow.
Portrait of the Scientist and Nobel Prize Laureate Leonid Vitalyevich Kantorovich. 1938.
Oil on canvas, 67x51.5 cm.
Collection of I.I.Paleyev family, St.Petersburg.
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Male Model (Chest Upwards). 1906.
Graphite and charcoal pencils, sanguine and watercolor on paper, 30.9x23.8 cm.
The State Russian Museum, St.Petersburg. Received in 1956 from the Artist's family collection.
An Artist and His Model. Ca 1906.
Watercolor and charcoal pencil on paper, 45.5x30 cm.
Collection of Ya.Rubinstein, Moscow.
A Seated Male Model. Study for painting "Chaos" (destroyed by Artist). 1906.
Charcoal pencil on paper, 46x30.5 cm.
The State Russian Museum, St.Petersburg. Received in 1956 from the Artist's family collection.
A Model Kneeling. Study for painting "The Beach" above. 1907-1908.
Charcoal pencil on paper, 60.8x47.3 cm.
The State Russian Museum, St.Petersburg. Received in 1956 from the Artist's family collection.
Female Model (From the Back). 1906-1907.
Watercolor and Italian pencil on paper, 47.5x31 cm.
Collection of I.Ezrakh, St.Petersburg.
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Riding Boy. Study for painting "Bathing of the Red Horse" above. 1912.
Charcoal pencil on paper mounted on cardboard, 62.5x47 cm.
The State Russian Museum, St.Petersburg. Received in 1926 from collection of A.Korovin.
Horse's Head. Study for painting "Bathing of the Red Horse" above. 1912.
Watercolor and charcoal pencil on paper, 22.6x33.2 cm.
The State Russian Museum, St.Petersburg. Received in 1957 from the Artist's family collection.
Portrait of the Artist Alexandr Nikolayevich Benois. 1912.
Charcoal pencil on paper, 52.5x42 cm.
The State Russian Museum, St.Petersburg. Received in 1970 from the State Hermitage (previously in the collection of F.Notgaft).
A Woman's Head. Study for painting "Mother" above. 1912.
Watercolor and charcoal pencil on paper, 33.2x23.8 cm.
The State Russian Museum, St.Petersburg. Received in 1948 from Leningrad Purchasing Committee.
The Abdication of Peter (Strastnaya Noch). 1919.
Indian ink, pen on paper, 21.5x25 cm.
The State Russian Museum, St.Petersburg. Received in 1931 from Museum of Art Culture, Leningrad.
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Over the Abyss. The composition of this drawing was used in painting "Spring". 1920.
Indian ink, pen and graphite pencil on paper, 38.4x31.4 cm.
The State Russian Museum, St.Petersburg. Received in 1955 from the Artist's family collection.
Self Portrait. 1921.
Watercolor, Indian ink, pen and brush on paper, 38.2x31.4 cm.
The State Russian Museum, St.Petersburg. Received in 1948 from Leningrad Purchasing Committee.
A Port in Dieppe. 1925.
Indian ink, brush on paper, 25x33 cm.
The Tretyakov Gallery, Moscow. Received in 1927 from the Artist.
Old Dieppe. 1925.
Indian ink, brush on paper, 25.3x33.4 cm.
Collection of B.Suris, St.Petersburg.
Lenushka With a Teddy Bear. 1926.
Indian ink, brush on paper, 33x25.7 cm.
The State Russian Museum, St.Petersburg. Received in 1947 from the Artist's family collection.
Goats. 1926.
Indian ink, brush on paper, 33.2x25 cm.
The State Russian Museum, St.Petersburg. Received in 1947 from the Artist's family collection.
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Roofs. Illustration for essay "Samarkandia. From travel sketches of 1921". 1923.
Indian ink, pen on paper, 26x29 cm.
Chupan-Ata. Illustration for essay "Samarkandia. From travel sketches of 1921". 1923.
Indian ink, pen on paper, 25x29 cm.
Street in Samarkand. Night. Illustration for essay "Samarkandia. From travel sketches of 1921". 1923.
Indian ink, pen on paper, 29x24.7 cm.
Chaikhana at Night. Illustration for essay "Samarkandia. From travel sketches of 1921". 1923.
Indian ink, pen on paper, 27x29 cm.
Illustration for "Pro Yezha" (About the Hedgehog).
Indian ink, pen on paper, 24.5x18 cm.
Collection of B.Suris, St.Petersburg.
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Sketch of make-up for Boris, for the play "Boris Godunov". 1924.
Watercolor and pencil on paper, 29x17 cm.
The State Museum of Theatre and Music Art, St.Petersburg. Received in 1984 from the collection of G.Levitin, St.Petersburg.
Sketch of make-up for Marina Mnishek, for the play "Boris Godunov". 1924.
Watercolor and pencil on paper, 29x17 cm.
Gorky Museum of the State Academy Bolshoi Drama Theatre, St.Petersburg.
Sketch of make-up for Yurodivy, for the play "Boris Godunov". 1924.
Watercolor and pencil on paper.
The Kremlyn Rooms. Décor Sketch for the Play "Boris Godunov". 1924.
Watercolor and pencil on paper, 24.5x33.5 cm.
Gorky Museum of the State Academy Bolshoi Drama Theatre, St.Petersburg.
An Inn on Lithwanya Border. Décor Sketch for the Play "Boris Godunov". 1924.
Watercolor and pencil on paper, 24.5x33.5 cm.
Gorky Museum of the State Academy Bolshoi Drama Theatre, St.Petersburg.
The Place of Execution. Décor Sketch for the Play "Boris Godunov". 1924.
Watercolor and pencil on paper, 24.5x33.5 cm.
Gorky Museum of the State Academy Bolshoi Drama Theatre, St.Petersburg.
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Moscow, The Tzar's Rooms. Décor Sketch for the Play "Boris Godunov". 1924.
Watercolor and pencil on paper, 24.5x33.5 cm.
Gorky Museum of the State Academy Bolshoi Drama Theatre, St.Petersburg.
The Tzar's Rooms. Décor Sketch for the Play "Boris Godunov". 1924.
Watercolor and pencil on paper, 24.5x33.5 cm.
Gorky Museum of the State Academy Bolshoi Drama Theatre, St.Petersburg.
Varlaam and Missail. Costume Design Sketch for the play "Boris Godunov". 1924.
Watercolor and pencil on paper, 29x17 cm.
Gorky Museum of the State Academy Bolshoi Drama Theatre, St.Petersburg.
At Smerdyakov's. Décor sketch for play "The Karamazov Brothers". 1927.
Watercolor, ink on paper, 21.3x31.2 cm.
The State Russian Museum, St.Petersburg. Received in 1974 from the State Hermitage (previously in the collection of F.Notgaft).
Laundry room. Décor sketch for play "Crazy Day, or The Marriage of Figaro". 1935.
Watercolor and pencil on paper, 35x52 cm.
The State Museum of Theatre and Music Art, St.Petersburg. Received in 1941 from the collection of G.Levitin, St.Petersburg.
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Biography:
Kuzma Sergeyevich Petrov-Vodkin was born November 5th 1878 in the family of a shoe-maker, in the town of Khvalynsk on the Volga river. When he was 2 years old, his father was recruited into the military, and sent to Petersburg, whither the family moved to join him and stayed for 2.5 years.
Petrov-Vodkin. Petersburg. 1895.
Back in Khvalynsk Kuzma's mother went into service for one of the richer families, and Kuzma lived with her.
His first deep artistic impressions Kuzma received in the home of his friend: the icons of Old Faith. He has watched how a neighbor and friend of their family, the old guard Andrei Kondratych, created colorful drawings on fairy-tale and song themes. As a schoolboy, he made the acquaintance of 2 icon painters, as well as a signpost painter and watched their work. That is when the future artist has realized that this wonder may be reproduced and has first tried to paint on his own.
In 1893 Petrov-Vodkin finished a 4-grade town school. At that time his decision to study art was not yet formed, and he attempted the exams for the railway institute. Upon failure, he went on to work for the whole winter season for local signpost painters, and only then went to attend the School of Drawing and Painting in Samara, studying under Burov (1893-1895), until the teacher died of an illness.
At that time, after several unsuccessful attempts at working on his own, Petrov-Vodkin has returned home to his mother, who was still working as a maid. Her sister, Yu. Kazarina, who was a wealthy Petersburg lady, decided to build herself a dacha near Khvalynsk, and brought for this purpose the court architect, R.Meltzer. The work of her nephiew was demonstrated to the famous artist, whose reaction was beyond expectation: he was so astonished by Kuzma's talent that he volunteered to help him get education in Petersburg. His aunt sponsored it.
Petrov-Vodkin was accepted into the Central Stieglitz School for technical drawing, which was a school teaching applied and industrial art masters in strict German style. Here he studied technical drawing, measurement, ornaments etc (1895-1897). After a while he felt that painting drew him a lot more than this dry and accurate drawing. He decided to leave Stieglitz School for MUZhVZ (Moscow School of Painting, Sculpture and Architecture). The teachers there during the time of his study (1897-1904) are Kassatkin and Serov, as well as I.Levitan, P.Trubetzkoi and K.Korovin. His fellow students are great future artists such as P.Kuznetzov M.Saryan, M.Larionov, S.Matveyev, I.Mashkov.
Petrov-Vodkin with wife Maria Fyodorovna. Paris. 1908.
In these school years Petrov-Vodkin discovered the vast aspects of culture and science he only heard about before, and went to study subjects outside the arts, like physics, chemistry, geology. He plays the violin, writes and even publishes some of his stories. Everything fascinates him. Theoretical analysis and rationalization remain characteristic of him.
He often worked for Meltzer in Petersburg; made drawings and executed different orders for stoves, fireplaces, tiles. He also gave drawing and painting lessons.
In 1901 Petrov-Vodkin sets out on a bicycle trip via Warsaw to Munuch and Italy. His bicycle breaks on the Russian-German border, and he makes it with difficulty to Munich, where he frequents Aschbe's studio for a couple of months. The trip has allowed him a very different view of Russian life and a wealth of experiences. He met the work of foreign srtists, such as Manet, Monet, Renoir, Pissaro, Cesanne.
Upon return to Moscow, Petrov-Vodkin studied in Serov's workshop.
In the summer of 1902 the artist together with goes Kuznetzov and Utkin to Saratov, where their proceed to paint the Curch of Kazan Virgin. This work was ver far from the accepted canons of the Orthodox Church, and before the work was even completed, they caused an uproar. The Church judgement was destroying them, despite the defence from Borissov-Musatov, who wrote then that this was work: "compared to which church painting of all Saratov congregation, old or new, is worthless...".
In 1904 the artist graduated school and in the automn of 1905 his second important voyage abroad began. He visited Istambul, sailed around Greece and finally came to Venice. ITaly made a great impression on him, especially Bellini and Da Vinci. For several months he traveled from one city to another, their artistic monuments passing before his eyes.
In 1906 he travelled to Paris, where he stayed for 2.5 years. Here his painting and drawing skills finally emerged and developed into true mastery.
Petrov-Vodkin with V.Sorokhtin traveling
from Moscow to Munich on bicycle. 1901.
In autumn 1907 Petrov-Vodkin traveled for 2 moths to North Africa, namely Algeria and Tunisia. He has done many drawings and studies there. The purpose of those was clearly more documentary: fixating the views, faces, dwellings of an environment so exotic and unfamiliar to the artist. Upon return, he created several paintings based on these studies and drawings. The paintings "Family of Nomads (African Family)" and "Arab Dance" were exhibited in Paris salon in 1908. In retrospect, both were not perhaps as lively as the initial African studies.
In 1908 Petrov-Vodkin returns to Petersburg for good.
At the 7th Exhibition of the Union of Artists in 1910, his painting "Sleeping" draws all attention and is the sourse of controversy for a long time, fixing the name of Petrov-Vodkin firmly in all circles among the most daring and original artists. The artist I.Repin has attacked the painting severely, seeing it as a reflection of decadence; on the other hand, A.Benois and L.Bakst have defended the work energetically.
Petrov-Vodkin was wholly focused on expressing a philosophical concept or thought by means of pure visual art. Contrary to many of his contemporaries, he did not abandon the figurative object as a tool of expression, but instead to combine figurative Neoclassicism with the Symbolism of rhythm, color and spatial composition. As a result, most of his fellow artists considered Petrov-Vodkin's art old-fashioned, passe. at the same time the public has erred just as much, assigning to him the same Formalism as the others.
In the autumn of 1910 the artist was invited to join the re-formed movement of The World of Art. Participating in the group exhibitions he once again met with his old school friends and fellow Blue Rose members such as P.Kuznetzov, N.Sapunov, M.Saryan and others, as well as members of the Jack of Diamonds and other groups.
Each year the artist has spent a few months (usually in the summer) in his native town Khvalynsk, which supplied him with endless fresh experiences and impressions of the simple folk, the freedom and the sheer magnitude of nature.
In the beginning of the 1910s the artist begins to create dynamic compositions in sharpened colors, wanting to affect people's view. The painting "Boys (Playing Boys)" was the first. The dynamics of a dance in the play of the two boys, and the artist for the first time uses a tri-color symbolic spectrum and a not-quite-real flattened space around the boys, still leaving the two figures realistic. The next painting created was "Bathing of the Red Horse", which was to become his trademark and a phenomenon in Russian art of the 1910s.
The series of portraits was made then, in which all the insignificant details are dropped, and only the essense remains, enlarged monumentally.
In the years following the creation of "Bathing of the Red Horse", the artist has finalized the formation of his theory of painting, which he follows for many years. He has developed what he called "the science of seeing", including the original method of flattenning and spreading the surrounding background into a sperical or inclined perspective, and the use of a unique color spectrum. The point of view of the background seemingly from a great height; the vertical lines incline outwards, the horizontal close view inclines up. He aims to convey a deeply philosophical idea of the visual connection of the world we perceive with the theoretic cosmic rules of the universe, thundering into the unknown. As to color, Petrov-Vodkin has come down to the realization that a painting must be created in the three basic colors: red, blue, yellow; each chosen in some tone. In his book, "Euclidean Space" the artist explains how he got to this perception, and analyzes his conclusions in detail. His art developed into a form of mystical realism often on revolutionary subject. The artist has become a leading figure among Petrograd Symbolists.
In his paintings on the theme of motherhood, as his Vigins, Petrov-Vodkin aims to connect the true, pure, earthly emotion with the high spiritual cosmic connection. The onging daily life, stopped for a moment by an event such as and excursion of women to the river, to bathe. The midday harmony of life, including the rest from work, a conversation, ripe apples as a symbol of lifeforce and birth, and a funeral as a connection to death - coveys the true, real flow of day-to day life.
Despite being a novator in art, the artist has remained faithful to the organizations and system he has chosen on his professional path. One such group was the World of Art, in whose exhibitions he continued to participate up to its end.
In 1924, some of the former members of World of Art have formed a new group in Moscow, Four Arts Society. Upon retun from his second Paris visit, Petrov Vodkin has settled in a small town of Shuvalovo in Petrograd area and has become an active member. Now he is actively interested in the life of the worker, just as in the pre-Revolutionary years he was mainly focused on the farmer.
Petrov-Vodkin with students of High Art School
at the Academy of Arts. 1920.
In the second half of 1920s it has become apparent that the artist has tuberculosis. At the end of 1920s the ilness turns dangerous, and he is almost totally unable to paint for a few years, and turns almost fully to teaching and writing again. It is then that he began his autobiographical books: "Khlynovsk" and "Prostranstvo Evklida" (Euclidean Space). Both books are illusrated: the first - at beginning and ending of chapters; the second is interspersed with many pen-and-ink drawings, allowing the reader to more fully cennect to the author's memories.
The artist taught at the Yelizaveta Zvantseva's school, St. Petersburg in 1910-1915, the SVOMAS (Free Workshops), Petrograd in 1918-1921, and the Academy of Arts in 1921-1933.
In the late 1920-s and the early 1930s the artist successfully participates in large State and foreign exhibitions, and he received the title of Honored Worker of Arts of RSFSR (1930). In 1932 the Leningrad Union of Artists was formed, and Petrov-Vodkin became its first chairman.
In 1938 Petrov-Vodkin was invited to Moscow in order to participate in the construction of the Palace of Soviets, but this was not to be, due to his illness turning to the worse once more. Kuzma Petrov-Vodkin has died on the night of 14-15 February 1939.