[Seriy]

I quote the first article on the impact of Old Italian masters Giotto school and, in particular, on the Petrov-Vodkin, and then tell their own words.


"... We can say that Petrov? Vodkin entire life engaged in dialogue with the great
Italian craftsmen. Trace the Italian line in the artistic?
Noah genealogy Petrov? Vodkin is doubly interesting
task, since these observations not only shed light on the creative?
stvo Russian painter, but also allow us to consider art in Italy
under the special point of view.
.... In lapidary eloquence dzhottovskih frescoes Muratov accurately grasp the features that were particularly dear to Petrov? Vodkin and time clearly marked?
were in his painting. If all of their figures, strongly folded and
simply dressed, the Italian master, according to Muratov, embodied the "ka?
something? a human being, "then and Petrova? Vodkin obvious
akin to the tendency to the predominance of expression of the type in?
vidual character. And again, even in the most dynamic scenes
Giotto's behavior heroes ritual observed consistent and sder?
zhannostyu movements - that we feel the presence of many canvases
Petrov? Vodkin.
.... Impressionists, according to Petrov? Vodkin satisfying?
vorilis formal knowledge of the law more (flowers). "Lost their
there was one simple reason: if I'm on the picture plane, IMAGE?
reflects, say, a white wall, I put red insulated smear?
Noah paint, against my will in this environment there Oz smear?
Le Nain. Why then, one wonders, to celebrate it by itself arises
phenomenon, daub of color in vain, the main thing - to deprive the viewer of the work
perception of this illusion, the more that these nuances are not the same color
to everyone? "9 Not surprisingly, in their picturesque pois?
framework of Petrov? Vodkin walked impressionism party. "

Now, in your own words -

In "Lemon and apple" Giotto's not. I'm talking about the typical Petrov-Vodkin, and that person is in one ocher, wear one color, if t e skirt blue, the other colors except blue, will not be used, concise, with no detail and realism, women are often snow-white scarf - a symbol of purity and innocence. Also characteristic pattern of folds of clothing. These techniques come from the early Renaissance fresco painting. It was early, as a simplification, a generalization of the devil faces, hands, feet in the high Renaissance disappeared, replaced by realistic.
That is, what took ST from Giotto, the color scheme in general and some shades, such as pink for the P-B, a typical dzhottovsky shade of pink, simplification, typification details - take a look at the feet of women with ST, a special tranquility characters, we can say the peace of mind.

Giotto's Red commanders and nude did not write, so give a similar picture is impossible. But now met Mantegna, very petrov-vodkinsky approach is the same dark ocher face, clean red, pink.
The fact that the Old Russian, Byzantine icons, and Post-Impressionists, the Fauves and their cult of pure color, too, had an impact on ST you have said.

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NATA NOVA, totalitarianism is still in the mid 30s, and neoclassicism flourished in the 20's, Picasso's Greco-Roman women in tunics, for example.