in the famous monograph ML Neumann Peter Konchalovsky. Creative career of one of the greatest artists of our time ", Moscow, Soviet Artist, 1967, which published this work is provided this statement Konchalovsky: « Flowers - great masters of the artist: In order to comprehend and to dismantle the structure of roses, we must put no less effort than in the study of the human face. In the color is all that exists in nature, only in more subtle and complex forms. I write the flowers, as a musician playing scales. This great exercise for each artist ».
Still Life "Four bouquet on the table and Lake" is striking in its magnitude. As in many other works of large size, ranging from the early "family portraits" by the Spanish period and ending with "apple orchards" of the latter years of his life, still life in this boisterous symphony of colors is maintained and enhanced forms of monumentality. Konchalovsky - a man of broad mind, and the big swinger - knew and loved to write big picture, expressing their powerful sound of life itself.
The artist considered this work a great success. She first exhibited at the legendary exhibition "Industry of Socialism" (Moscow-Leningrad, 1939), then in all his lifetime personal exhibitions of the artist: at the 10 th in 1941 at the Tretyakov Gallery in Moscow, at 14 th in Moscow in 1947, and at the exhibition to the 75 anniversary of the artist in Moscow in 1951.
In 2005, the painting exhibited at the Museum of Russian Art in Minneapolis (USA), along with masterpieces from the collection of the State Tretyakov Gallery.
Pyotr Konchalovsky has always been a landmark figure in Russian culture, from early works Knave of Diamonds and ending with the late classical still life and landscapes. Thanks to record sales of his works on Russian auctions (Sotheby's and Christie's) of the last decade, the artist's name and received international acclaim.

"Reflections" - it's 25 paintings by artists, worked for the state, and in their free time to write the social order "for themselves." This explains the high quality of work: "leave" the artists with all the passion is not indulged in ideological and plastic research. This also explains their presence in the collection of Ray Johnson - usually such work does not diverge to museums, and settled in the workshops. Such a workshop and visited by an American collector in the first half of the 90's. Artists parted with his canvases with gratitude to the Americans are not so much for the material (although at the time it was a matter of survival), but for moral support - her while they were not needed.
But for some fifteen years, it became clear that not all so good it was in non-conformism, as not so bad was socialist realism. And after 30 years, perhaps, the opposition official and unofficial art in the Soviet Union will be perceived as fighting Guelphs and Ghibellines. Anyway, one of the pages of the history of domestic arts - Soviet and tear it can not: and indecent, and the book to pieces. In our country there is always the drama of someone willing to repress or to rehabilitate. In this case, certificate of rehabilitation of social realism came from overseas. It's safe - to make sure that everything is in order, we definitely need to see your reflection in the mirror of the West. I wonder what in the U.S. Socialist Realism is demonstrated for the first time not as a cultural, ethnographic material, as well as art - the similarities between our two countries in regard to the addition of national school of painting, obviously. Artists were brought in almost medieval pattern: they got to school, perfected over the years in the continuing tradition, good living by performing public contracts. But the USSR was the reserve of painting - traditional artists have been preserved in our country to this day, while enjoying the freedom of their American counterparts to drop these thorny venture still in pre-war ........"
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