Abstract
The article provides a philosophical and art-criticism analysis of the still-life paintings “Breakfast” (1646) by Pieter Claesz and “Still-Life with a Herring” (1918) by K. S. Petrov-Vodkin, revels their ideological content. It is shown that these works can serve as cultural models representing the authors’ individual style, historical context of the Netherlandian and Russian artistic culture of the corresponding period, aspects of panhuman vision expressed through artistic conception of Christian Eucharist.
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