Philip Malyavin is one of the brightest nuggets of distinctive Russian culture. He was born and grew up in the village of Kazanka of the Samara province and from childhood was immersed in the specific atmosphere of peasant life, surrounded by all the warmth and originality of the Russian national order and Orthodox traditions.
From early childhood, Philip passionately wanted to become an icon painter, at sixteen he even went to Athos hoping to get invaluable icon painting skills there, but the bright and overwhelming gift for painting after 6 years returns him from the narrow monastery walls to his homeland, where Beklemishev, struck by his Athos works, he becomes a volunteer at the St. Petersburg Academy of Arts.
And the enlightened Petersburg, with all its impetuous spontaneity in judgments and passions, violently receives the young “genius from the plow”. The unusual and provocative manner of painting Malyavina with her expressive faces and bright, spotted background without details detail enraptured the already renowned painters and artists, such as Repin, Nesterov, Dyagilev, Tretyakov, and horrified art rulers. By Malyavin quickly come fame, fame and prosperity.
The painting “Baba” was written in 1905 in the traditional style of early Malyavin for sonorous color and decoration. The work clearly traced the principles of Orthodox iconography. Beautifully traced volumetric faces with special lively expressions are complemented by flat, disproportionately large figures dressed in color-cutting outfits, and, like on icons, the edges of clothes go beyond the picture, and women look into the eyes of the audience with a grin and mystery. Critics of those years justifiably wrote that Malyavin breathes from the canvases with an inexplicable Russian spirit, the smell of blood that has flooded folk history, the cries of holy fools and the waving of for women’s riots.