The matchmaking of the major - Pavel Andreevich Fedotov. 58.3 x 75.4
The founder of critical realism in Russian fine art P. In his works, the artist was able to combine the exposure of social and moral vices of society with a subtle psychologism and poetic perception of reality.
In the painting “Matchmaking of the Major” the action is played out in front of the viewer as the beginning of a comedy. House of a merchant, moneybags. The modest decor of the living room does not even hint at the true dimensions of the wealth of the owner. "Capital is a hidden business" is the golden rule of the merchants.
Everything is ready for the meeting of the long-awaited guest - the groom-nobleman. The maid finishes setting the table, the bride put on a strongly low-cut ball gown, which does not correspond to the deliberately boring atmosphere, jewels sparkle on her arms and neck. Her parents dressed up according to a solemn occasion. Fedotov showed not matchmaking itself, but the moment preceding it. The matchmaker, who entered the room, informed the owners that the applicant for the girl’s hand had arrived. He appeared in full parade, wanting to make a “necessary” impression on future relatives.
The arrival of the gallant major disturbed the inhabitants of the house. Each person in the room responds in his own way to the words of the matchmaker: the young coquette seeks to slip out of the room, demonstrating pretentious modesty, but her mother manages to grab her by the dress; the cook carefully looks at them, putting snacks on the table, two household members whisper behind her; the father of the family hurries to go out to meet the guest. And only the cat in the foreground remains indifferent to what is happening.
In this work, the use of the author's favorite technique, the contrast of movements (hidden and explicit), is especially clearly visible. In other words, a brief moment from a kaleidoscope of rapidly changing events is captured on the canvas, but the viewer seems to know what exactly will happen in the next moment. In this compositional construction, there is a certain degree of theatricality by which the artist emphasizes the falsity and false brilliance of what is happening.