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During the lesson we met the artist Perov. Before this, I had seen several of his works while visiting exhibitions, but this is the first time I have seen such a tragic and sad picture as Troika. She touched all the strings of my soul. The worst thing is that this is not fiction. Previously, there really was a difficult time, there was hunger, poverty, and need all around, forcing even children to work on an equal basis with adults.

The history of the painting

If we look at the history of the creation of the painting Troika, Perov painted it in 1866. The author spent a long time looking for a boy from whom he could draw the central character, and he found him. By the way, Troika also had a second name - Artisan apprentices carrying water. When Perov managed to meet the boy’s mother for the second time, the artist learned from her that the hero of his painting had died. This is not surprising, because at that terrible time few people managed to survive. Children, working as artisans, could not withstand the stress, got sick and died. Perov's painting became one of the most famous, and took its place in the Tretyakov Gallery.

Description of the painting by Perov Troika

When we look at the photo of Perov Troika’s painting, we mentally find ourselves in the past, on one of the cold and frosty days. There is snow on the road, fog has fallen on the ground, many are still sleeping, since the street is empty and only three children break the silence. Despite the fact that the day has just begun, they are already tired and we can read this fatigue in their eyes. They were frozen, because their clothes had long ceased to keep them warm, having turned into rags. There are three children, they are harnessed to a homemade team, and they are pulling a huge barrel of water. Although an adult man pushing the cart from behind is trying to make the children’s lot easier, it doesn’t make it any easier. Their work is hard, the boy on the left is barely dragging his feet and is ready to fall. But there is no way out, this is their job and the opportunity to live on, receiving food from the owner. A dog runs with the children, and although the artist depicted it as playful, this does not add any joy to the picture. The dark colors that Perov uses also add sadness. Everything points to one thing: the children are doomed and they hardly have a future.

Troika - Perov. 1866. Oil on canvas. 123.5x167.5

The most recognizable, tragic, emotional and legendary work of the great artist has been captivating the public for more than a century and a half, forcing them to empathize and sympathize with the heroes of the work.

Along a deserted and ominously gloomy street, swept by an icy blizzard, three children are carrying a huge vat of water, covered with matting. The water, splashing out of the vat, instantly freezes, turning into icicles. This is how the author refers to the winter cold, which makes the work even more dramatic.

Three childish figures, different, but equally emaciated, are harnessed to a cart like a trio of horses. The face of the only girl in the harness is turned directly to the viewer. An open sheepskin coat reveals an old, washed-out skirt. The eyes are half-closed, there is tension and inexpressible torment on the face. The cold wind ruffles her hair, and her heavy, large boots that are not for her age further emphasize the fragility of her girl’s figure.

The boy on the far left is apparently the youngest of the trio. Hard work seems to have almost completely drained him of his strength. The hand hangs limply, tension can be read throughout the body, and a thin pale child’s neck and a look full of despair and hopelessness complete the tragic picture.

As you know, for a long time the master could not find a model for the central figure of the “troika”. This is the oldest of the children depicted in the picture. According to the plot of the work, it is the central figure who bears the main part of the dramaturgy of the work. As the eldest in the team, the boy tries to play the role of leader. He, overcoming pain and cold, does not show his fatigue. All directed forward, by his very appearance he gives strength to his weakened comrades.

The childish eyes of the trio of sufferers, their clothes from someone else’s shoulders, backbreaking work - the master calls on the viewer to be horrified by the situation of the children, calls for mercy.

Particular attention should be paid to the surrounding landscape. A deserted street, a monastery wall (this can be easily determined by the part of the gate with an image above it), two human figures - a man wrapped in a fur coat against the cold, a man pushing a barrel of water from behind. The author does not show us the faces of adults. It’s as if they are not present in the picture, they become only part of the landscape.

The dog running next to him is not happy at all. Baring his teeth at the cold, darkness and twilight, he accompanies his owners, enduring all the hardships and difficulties with them.

The gray, gloomy sky is enlivened by several flying birds, also suffering from frost.

Gray, dirty snow underfoot, scattered brushwood, icy sleds. All of the above enhances the impression of the picture, filling it with an atmosphere of hopelessness, suffering and doom.

The work became a powerful and loud denunciation, a protest against the use of child labor and ruthless treatment of children.

“Troika (Apprentice artisans carrying water)”- an incredibly emotional canvas created by Russian artist Vasily Perov. Three children harnessed to a sleigh are doomedly pulling a huge barrel of water. Very often the picture is cited as an example when talking about the difficult fate of peasants. But the creation of this picture became a real grief for an ordinary village woman.

Vasily Perov I've been working on the painting for a long time. Most of it was written, only the central character was missing, the artist could not find the right type. One day Perov was walking in the vicinity of the Tverskaya Zastava and looking at the faces of the artisans who, after celebrating Easter, were returning from the villages back to the city to work. It was then that the artist saw a boy who would subsequently rivet the viewers’ eyes to his painting. He was from the Ryazan province and went with his mother to the Trinity-Sergius Lavra.

The artist, excited that he had found “the one,” began to emotionally beg the woman to allow him to paint a portrait of her son. The frightened woman did not understand what was happening and tried to speed up her pace. Then Perov invited her to go to his workshop and promised her an overnight stay, because he learned that the travelers had nowhere to stay.

In the studio, the artist showed the woman an unfinished painting. She was even more frightened, saying that it was a sin to draw people: some wither away from it, while others die. Perov persuaded her as best he could. He gave examples of kings and bishops who posed for artists. In the end, the woman agreed.

While Perov was painting a portrait of the boy, his mother talked about her difficult lot. Her name was Aunt Marya. The husband and children died, only Vasenka remained. She doted on him. The next day, the travelers left, and the artist was inspired to finish his canvas. It turned out to be so heartfelt that it was immediately acquired by Pavel Mikhailovich Tretyakov and exhibited in the gallery.

Four years later, Aunt Marya appeared on the threshold of Perov’s workshop again. Only she was without Vasenka. The woman said in tears that her son had contracted smallpox the year before and died. Later, Perov wrote that Marya did not blame him for the boy’s death, but he himself did not leave him feeling guilty for what happened.

Aunt Marya said that she worked all winter, sold everything she had, just to buy a painting of her son. Vasily Perov replied that the painting was sold, but you can look at it. He took the woman to Tretyakov’s gallery. Seeing the picture, the woman fell to her knees and began to sob. “You are my dear! Here’s your knocked out tooth!” - she wailed.

For several hours the mother stood in front of the image of her son and prayed. The artist assured her that he would paint a portrait of Vasenka separately. Perov fulfilled his promise and sent a portrait of the boy in a gilded frame to the village to Aunt Marya.