A scandalous masterpiece for which the artist Fedotov received the title of academician, but remained unhappy: "Major's matchmaking"

2024 Author: Richard Flannagan | [email protected]. Last modified: 2023-12-15 23:55

Today we take a look at Major's Matchmaking, a masterpiece by Russian artist Pavel Fedotov. The canvas discusses the themes of love, money and prestige, which do not lose their relevance today. The artist skillfully recreated serious themes in a comic, at a glance, situation. Let's explore this underrated Russian masterpiece.

Artist biography

Pavel Fedotov was born in 1815 into an impoverished Russian noble family. In 1826, at the age of 11, he began training at the First Moscow Cadet Corps as a military officer. After serving for 10 years as an officer, he decided to retire and end his distinguished military career. And then - to fulfill your dream - to become an artist. He became a painter, but this craft, unfortunately, did not bring him happiness. Fedotov lived to be only 37 years old. These years passed in poverty, the disappointment of madness … He even had to undergo treatment in a psychiatric hospital. Friends and relatives continued to visit him and often remembered that young brilliant officer who, for the past 8 years, although acquiring artistic skills, but lost his sanity. Despite his tragic life, Pavel Fedotov left the world with magnificent detailed images of interiors, which, moreover, carry a deep social connotation. One of such works is the painting "The Major's Matchmaking" in 1848.

"Major's matchmaking": the background of writing

Until the middle of the 19th century, paintings by Russian artists usually depicted three subjects: historical events, biblical stories and aristocratic portraits. Since the middle of the 19th century, more and more stories have appeared about the middle class, which is becoming more powerful and stronger. What is their value to artists? The middle class has always had funds to buy art, and they were more willing to do so. Therefore, subsequently, new stories about the middle class arose. In this regard, Pavel Fedotov, with his topical themes of love, money and prestige, came in handy.

The plot of the picture

Pavel Fedotov began work on the canvas (also known as The Marriage of a Major) in 1848. The artist portrayed The Major's Matchmaking as a mise-en-scène (a French term for a staged scene). Fedotov depicts the plot of the picture as if it were a scene from a play. All heroes freeze in the most expressive gesture and climax - this strengthens the storyline.

"The Major's Matchmaking" is the main work of the mature period in Fedotov's work. It literally revealed the principles of his art, determined the methods of work and style. For the famous painting Fedotov was awarded the title of academician. The whole composition of the picture is divided into groups, each of which develops its own storyline within the framework of a common theme. In the center of the composition is a running bride and a mother trying to hold her back.

Major

Major's matchmaking reflects a very common tradition in 19th century Russia: a wealthy bachelor who wants to marry a suitable lady. The major himself stands in the doorway to the right of the stage. His body is illuminated from behind with a golden yellow light. Although the figure is shown in silhouette, all his features (even a bored face) are clearly visible. The Major may not be the most enviable bridegroom and dream of all girls, but he projects the image of a reasonable and rational person who wants to get married. There is not a single hint of love or affection in him, but at the same time the Major exudes honor and respectability.

Matchmaker

The next important figure the artist focuses on is the matchmaker (to the left of the major). She is wearing a red dress with a dark skirt. A scarf covers her hair. She holds a white handkerchief in one hand, and the other points to the major behind her. Fedotov caught the moment when the matchmaker condescendingly looks at the father of the potential bride. Apparently, the matchmaker is saying something encouraging to the future father-in-law. There is a slight smile on her face. The matchmaker is the best marketer of that time, who will profitably "sell" the product to the right person for the benefit of both parties.

Father of the bride

The father's figure is one of the darkest and most difficult to distinguish. He is dressed in a wide robe, which makes his body literally shapeless. And if not for his white beard and ruddy complexion, he would almost blend into the background. The father was supposed to be the head of the family for this important process, but by no means. Fedotov made the bride's mother a more significant figure, the father is still secondary here. He himself looks modest, but his wealthy position is betrayed by a richly decorated house. The ceiling is paneled, and there are many expensive items in the room, such as a chandelier, gilded picture frames, and fragile glassware. The merchant's family is the ideal image of the middle class.

Mother

To the left of the father is the elegantly dressed mother. She was definitely preparing for the arrival of important guests. She is wearing a pink dress with a white shawl. A very noticeable (and not just that) diamond earring hanging from the ear. The bride's hair is gathered in a green headscarf. The peasant origin of this heroine gives out the headscarf. Yes, she is expensively dressed, she has jewelry, but at that time women of the higher class did not wear headscarves and, of course, did not allow themselves such gestures next to strangers. Women of the upper class could decorate their hair with decorative elements or not insert anything at all into their hair. The mother holds her shawl in one hand while the other tries to catch her daughter. It looks like she is keeping her daughter from escaping. The heroine's lips and eyes are wide open, as if ordering: "Come back, child, you are losing a lot!"

Potential bride

In the center of the picture and the plot is the potential bride of the major. Of course, she is beautiful in everything. And in this pearl airy dress in many layers, and in her sweet girlish face. The girl's snow-white skin almost merged with the dress. By the way, the outfit is very similar to a wedding dress. Is not it too early? Such a detail, coupled with her escape, adds comic relief to the plot. Three strands of pearls complete with earrings accentuate her amazing outfit.

Composition and connection of heroes

The interaction of these characters is one of the main lines of the plot development. Obeying the will of the artist, the viewer moves from character to character, and they are all connected by a gesture or pose. Thus, a kind of "composition of movement" from left to right is created. Despite the fact that the picture is small in size, all the details and elements are very carefully worked out - a proof of the author's skill! As an explanation for Major's matchmaking, Fedotov wrote a poetic work - the famous Raceya.

Nevertheless, everything on the canvas bears the stamp of a merchant's taste: an inappropriate outfit on the owner of the house, a peasant headscarf on the mother's head, a daughter's too elaborate outfit, rude gestures and the obvious absurdity of the situation. In the living room, the tastes of the owners are also visible: instead of fashionable paintings, there is a portrait of the Metropolitan on the wall (again a reference to the peasant past).

Thus, despite a difficult personal fate. Pavel Fedotov managed to create a holistic image of merchant life in the 19th century. Here is a comic plot, and the middle class, not ready to part with peasant habits, and the traditions of marriage of that era, and great social upheavals. Art historians and critics, who first saw Fedotov's painting, unanimously called it one of the wonderful works of Russian painting of the 19th century, which "due to the amazing truth of the characters, the significance of the problem raised in it, turned out to be much more serious than the artist's original intention."

And to continue the story from this interesting canvas, why the ironic picture of P. Fedotov made a splash in the middle of the 19th century.