Interestingly, Kheda – the creator of amazing paintings with still lifes, first tried himself in writing portraits and subjects on religious themes. Only much later did he stop writing still lifes, where he became famous as a great master.
You can see that on the canvases of this painter there are the same objects, only slightly rearranged or diluted by some innovations. Why is this happening? Everything is explained simply. Kheda was a representative of the time when not everything could be spoken openly, therefore some signs had flower buds, color of clothes, and even certain poses.
Of course, the paintings also knew how to “speak.” So, for example, ham on the table signified the joys of feelings, silver dishes expressed wealth and wealth, an extinct candle signified someone’s extinct life, and lemon was an indispensable sign of freshness and beauty, seasoned with a hint of bitterness.
Still-lifes of the Head can be read as notes. The mess on Tola reflects a certain confusion of life. A light tablecloth of a thin, rich material should be perfectly smooth and clean, as ideally our life, however, no one has yet been able to boast of such impeccability.
Very often, instead of a smooth canvas, wrinkles, bruises, blemishes occur, there are also huge folds. And even then, the whole “tablecloth” of life is curled up and there is absolutely no time to straighten it. Silverware is high and noble, but a cup of wine fell on its side, probably also for a reason.
But the filled glass remained standing, gleaming with rounded sides. Of course, at any celebration of life there is a “lemon”, here it is written brightly, stands out with a juicy spot, although it has already been tested, the incised skin hangs sadly from the table. Lemon is no longer needed.
Hed’s favorite brown tones give the whole of still life a kind of warmth. Even the mess here looks refined and elegant.