Pavel Nikonov, together with Viktor Popkov, turned in their works to the tragic situation of the Russian village in the era of its collective-farm existence. But their vision of peasant disasters was not expressed in any specific socio-political or temporal attributes.
In the 1960s, an extremely important artistic phenomenon, a “detached” time, took shape in the depths of Soviet art. The canvases depict an indefinite point in time, which does not have a clear appearance, but is filled with emotional content, with special techniques that set off picturesque images. What era is the plot of the canvas? To pre-Mongol Rus? By the seventeenth century? To the era of the abolition of serfdom? For the Stalinist collectivization or the Khrushchev thaw?
The dramaturgy of the picture does not relate to any particular situation: it summarizes the time to eternally happening, to the inescapably existing, bringing together being and life, demanding from man stoic patience.
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