Early Spring 1916

Curator: Looking at Konstantin Gorbatov's "Early Spring," painted in 1916, one is immediately struck by its peaceful and contemplative mood. The city seems to sleep beneath a blanket of snow. Editor: I see it too. What catches my eye, beyond the serenity, is the layering of the oil paint itself. You can practically feel the texture of the snow and the dampness in the air; a very material sense of early thaw in a small Russian town. Curator: Yes, Gorbatov uses impasto techniques, which emphasizes the sensory aspect. The domes and towers depicted are symbolic. In Russian iconography, domes can represent the heavenly realm, their number often holding spiritual significance. Editor: Interesting! I’m equally interested in the material choices, like his use of oil on canvas. In those days, access to pigments and quality canvas wasn't a given. Someone financed this. And I also notice that perspective – there's a tension between the receding cityscape and how flatly he renders the water. Was this meant to express something about the state of Russia's soul perhaps? Curator: It could be a reflection of a society poised on the brink of immense change. Water is very common as symbol for transformation and reflection too. Also, beyond Gorbatov’s use of traditional iconography, one also detects a nostalgia for pre-revolutionary Russia. Editor: And this nostalgia is physically *present* through those visible brushstrokes. One can nearly see the artist wrestling with capturing a moment both beautiful and tragically fleeting. Curator: Absolutely. I find the way Gorbatov evokes a sense of longing and anticipates something beautiful, and possibly foreboding too. Editor: Well, looking at the material choices in conjunction with this feeling, I certainly feel a greater connection to that moment in Russian history than I did a minute ago. Curator: As do I! Hopefully our listeners feel more enlightened now too!