Fishers (priest, deacon and seminarian) 1879

Editor: Here we have "Fishers (priest, deacon and seminarian)", an oil painting by Vasily Perov, completed in 1879. My initial impression is one of stark realism, a kind of griminess almost. It’s not exactly uplifting. What strikes you when you look at this piece? Curator: That “griminess”, as you put it, hits me right in the gut too. It's Perov's signature, wouldn't you say? He never shied away from showing the less-than-ideal sides of life. Forget rosy cheeks and landscapes; he's down in the mud with these…well, characters. Notice how they are toiling under that vast sky, and their clothes are all askew. I would suggest that we need to be curious and ask questions like, "Are they succeeding in this work?". Look closer! What can you tell me about the facial expressions? What stories do you imagine when you examine them up close? Editor: I see strain, definitely – exhaustion. The younger one hauling the bucket looks like he’s about to collapse, and the older one… resigned, maybe? And none of them appear too successful if they need to get their own supper. But what about the context? It is called Russian Avant-Garde but this image seems… well, not Avant-Garde at all! Curator: Right! Here’s a surprise: although many consider him a Realist painter, some argue his satirical lens anticipates elements of later avant-garde movements, wouldn't you say? That's Perov for you - always defying expectations. Perov challenges traditional views of clergy and societal norms. The scene makes me ask about my own privilege; doesn’t it invite reflections about compassion? Maybe, more importantly: do we judge them based on appearance and assumptions or give it our consideration. I may never fish as I've never experienced a situation like that. But maybe there is always something that I am constantly reaching for… or trying to find the strength to provide sustenance to others. What do you think? Editor: Wow. I was stuck on the surface, but you've shown me the deeper currents. I'll definitely look at Perov differently from now on. Curator: Me too!