We are searching data for your request:
Upon completion, a link will appear to access the found materials.
Vereshchagin is merciless in portraying losses and victories. Vereshchagin is perhaps the only artist who was not subject to narcissism, and he could fairly truthfully display the truth of military life on his canvases.
And if Aivazovsky often portrayed sea battles, then Vereshchagin on his canvases portrayed land battles and mainly Asian ones. He fell in love with Central Asia and therefore he has accumulated a fairly large series of paintings with oriental motifs, in addition, there are many sketches, sketches, sketches. But he never departed from the truth.
On this canvas, he depicted Asian winners. This is most likely the Turks. After the battle, dead Russian soldiers lie around the hill, and the victors walk around them and take off their clothes, shoes, and rummage around their pockets in search of something valuable. All found clothing or shoes are right here, next to the robbed killed warrior. But on the battlefield discovered a safe and sound soldier. He was immediately surrounded by the Turks and began to be seen from all sides. Some of them will go to him. Someone will get his camisole, and someone else will have something valuable if he has one. But there is no doubt that he will go into slavery.
The artist conveyed some kind of insecurity in this picture. Something fleeting and incomprehensible. And most importantly, he made it clear that not always a Russian soldier wins. This is perhaps his main truth in this picture. And this, of course, caused some bewilderment among the patriotic public of the capital. They could not believe that this could happen to Russian soldiers. But this also happened, sometimes battles were lost.
It just happened not so often. And it was precisely about the losses that the artist told. Moreover, with exquisite accuracy he portrayed the "barbarians" in their immediate environment, in the very center of Central Asia.
Moonlit Night on the Bosphorus