Princess Anfisa 1924

Editor: Here we have Boris Kustodiev's "Princess Anfisa," a watercolor painting from 1924. The palette is very light and airy. The gold embellishments and dramatic crown give her a very festive and majestic quality. What historical context can you share? Curator: Well, this isn’t just a portrait; it's a costume design. Considering the date, 1924, it's fascinating to see how Kustodiev is engaging with Russia’s pre-revolutionary past while working within the Soviet era. The bright colors and ornate costume clash with the constructivist aesthetics that became politically favored. This suggests tension between artistic tradition and the evolving demands of the new state. What kind of politics of imagery can we infer here, if any? Editor: It's almost rebellious. The Princess embodies extravagance, which feels contradictory to the values the Revolution promoted, isn't it? The choice of a Princess is interesting, considering its baggage in this socio-political climate. Curator: Precisely. Kustodiev seems to be negotiating a complex space. On one hand, he's a product of the Russian avant-garde, but on the other, this piece also engages with themes that existed pre-revolution such as pageantry, which could possibly evoke feelings of nationalism or folklore. What could this tell us about Kustodiev’s position as an artist during this time? Editor: That maybe artists were still searching for their place, figuring out how to express themselves while considering the political context and societal shifts, and balancing past heritage and new revolutionary concepts. Curator: Yes, exactly! He’s using the familiar language of historical painting and costume design to subtly comment on contemporary social changes. What a lot of pressure to negotiate! Editor: That’s a good point, the dress design tells a compelling story in itself! I definitely have a better understanding of Kustodiev and the context in which he was creating now.