Epitaph 1904

Here's this watercolor by Kuzma Petrov-Vodkin, Epitaph, and it feels like the artist has let the colors run and blend, creating a dreamy, almost ghostly image. I’m looking at the way the blues and greens wash together in the figure's hat and clothing. I imagine Petrov-Vodkin working quickly, trusting the flow of the paint and the way colors interact. There’s a vulnerability in the thin washes, as if the painting could disappear at any moment. It makes me think about all the times I’ve wrestled with watercolor, trying to control it, only to realize that the real magic happens when you let go. The figure's gaze is direct, almost confrontational, yet there's a softness in the eyes that hints at something deeper. It's like he's inviting you to look closer, to see beyond the surface. It reminds me of other artists who embraced the fluidity of watercolor, like John Marin, who used it to capture the energy of the city. Painting is like a conversation across time, a way of connecting with other artists who have grappled with the same questions.