Samson. From the Heroic Babies Series (left part of the diptych) 1989

Editor: We're looking at "Samson. From the Heroic Babies Series," painted by Vasiliy Ryabchenko in 1989, using oil on canvas. I find the rough, almost unfinished quality quite striking, and there's an odd juxtaposition between the regal attire and the, well, the baby. What do you see in this piece? Curator: Let's consider the painting's structure. The artist employs a limited color palette, primarily blues and browns, creating a sense of tonal unity. The figure dominates the composition, yet the loosely rendered background elements – what appear to be draped fabrics and indeterminate objects – create a spatial ambiguity. Notice how the brushstrokes themselves are visible, drawing attention to the materiality of the paint. What do you make of the interplay between figuration and abstraction here? Editor: I see what you mean. The clear, representational depiction of the child clashes with the barely-there background, like the painting is simultaneously resolving and dissolving. The lack of crisp edges also makes everything feel like it's in flux. Is this purposeful, in your opinion? Curator: The lack of resolution is key. This aligns with a broader postmodern aesthetic. The artist isn't striving for photorealistic representation, but rather exploring the act of painting itself. Observe the surface texture. Where does Ryabchenko want to guide our gaze? Editor: Probably back to the figure - the thickest paint seems concentrated on the baby and what he is wearing, maybe implying its importance in the composition. That’s definitely given me something new to consider. Thank you! Curator: Indeed. A closer engagement with materiality and construction yields deeper appreciation.