Purity and sincerity – these are the features that are for Koro main in man. Hence his repeated appeal to the images of children. Bachelor Kor searched for family joys at his sister’s house, and then at the grown-up nieces. Their children constantly posed for him in the 1840s.
The word posed “does not give a true idea of the sessions – try to make a person posing for two or four years!” Koro did not demand immobility. “His model could move freely,” writes L. Robo, “he allowed everything; baby Dobyni… did not stand still, sang and laughed. Someone made a comment to her, but Koro objected: “This is exactly what I need, I’m not one of those who are chasing anatomical precision in a work of art.” My goal is to express life. “I need a moving model.”
Looking at these children with knuts, balls, wheelbarrows, it is impossible not to notice that the artist perfectly conveyed exactly the essence of the child’s image. And is it not because It happened that the rude and rustic-looking “Papa Koro” had the same light and pure soul as the child?
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