At The Fair 1910

Editor: This is Boris Kustodiev's "At the Fair," painted around 1910, using oil paints. I’m immediately struck by how vibrant and almost intentionally unrealistic the colours are; it’s like a folk tale come to life. What stands out to you about this painting? Curator: Notice the deployment of color; the striking juxtaposition of red and green in the architectural forms dominates the visual field. Consider how these choices affect the painting’s overall structure, drawing our eyes upward. What function does the flattened perspective serve, would you say? Editor: I suppose the lack of perspective makes the scene feel more compressed, heightening the sense of a bustling crowd. Is there a particular significance to the architectural shapes themselves? Curator: The towers, rendered in bold color blocks, are not merely representational; they create a rhythmic pattern that punctuates the composition. And consider the surface texture - how does the visible brushwork contribute to your perception of the subject matter? Editor: The brushstrokes give a sense of spontaneity. It stops the highly saturated colours from becoming too rigid, making it less polished perhaps? I’d always assumed ‘less polished’ was unintentional! Curator: The lack of photorealism forces the viewer to contend with the formal relationships and elements of painting: Colour, line, form, texture, and space are prioritized over descriptive illusion. What effect does the high vantage point have on the overall design of the composition? Editor: By seeing everything from above, the artist seems to be inviting us to interpret this view through the visual relationships alone rather than aiming for some type of message. Curator: Precisely. Editor: That makes me view this as far more than a busy street scene. Curator: Indeed, and that, I feel, lies at the core of formalism.