A 1928 oil painting by Pyotr Konchalovsky, capturing the architectural form of the Temple of Myrrh Bearers through textured brushwork and post-impressionist colour planes.

Pyotr Konchalovsky, a founding member of the Jack of Diamonds group, produced this work in 1928. The painting depicts the Temple of the Myrrh Bearers, a historic ecclesiastical structure, rendered with the artist's characteristic focus on structural integrity and material weight. Konchalovsky was heavily influenced by the work of Paul Cézanne, which is evident here in the deliberate application of paint and the construction of the architectural forms through colour planes rather than traditional linear perspective. The composition balances the white, sun-drenched walls of the church against the deep green of the domes and the earthy tones of the foreground. The brushwork is thick and tactile, creating a sense of physical presence that defines the artist's approach during this period. By avoiding fine detail, Konchalovsky captures the essence of the building within its environment, prioritising the interplay of light and shadow across the masonry. The sky is treated with a similar textural quality, using short, rhythmic strokes that unify the scene. This piece reflects the artist's transition from the more radical experiments of his earlier career toward a more stable, representational style that remained grounded in the principles of modernism. The viewer is presented with a clear, honest observation of the subject, free from unnecessary ornamentation. The work remains a representative example of the Russian avant-garde's engagement with European post-impressionist techniques, adapted to depict the specific architectural character of the Russian provinces.