Human suffering due to political struggles have been a theme of visual art time and again. Raw and bitter realities have found their way to canvases, if not then and there; eventually, when the terror of supression was lifted. Such a theme is "Morning of Execution of Streltsy" by Vasily Surikov. The military corpse, Streltsy, was a hereditary social class, established in 16th century, active under various rulers ever since. During the rule of Tsar Peter I, Streltsy were dissatisfied with his reforms and increasing preference for foreign trained troops, leading to a revolt. Peter personally oversaw the supression of this rebellion and had thousands, arrested, interrogated and tortured, followed by execution in Moscow. One such morning of streltsy execution is shown in the above painting with the condemned streltsy being lead to execution and the familes around in grief and despair. The pathetic scene unfolds infront of the imposing architecture of Kremlin. The white clad figures of the streltsy can be seen drooped and helpless while the red colour, candles and decorative background adds visual intensity to the sombre scene. Working in 19th century, Surikov was most likely inspired by a society that was becoming increasingly aware of itself and its past including the struggles and sorrow. Apart from this work, other works by Surikov also have similar themes of suffering, oppression and social tensions. He worked at a time, when Russia experienced growing intellectual and political dissatisfaction and even while serfdom was abolished, peasants continued to experience poverty and heavy financial burdens. These tensions contributed to the rise of revolutionary and reformist ideas in the society which can also be seen as a driving factor of Surikov's emotionally charged works that compell a viewer to not turn a blind eye to the suffering of the past and forces them to contemplate about social injustice. Surikov was born in Krasnoyarsk, Siberia and had developed an early interest in drawing. He went on to study at the Imperial Academy of Arts in St. Petersburg under Pavel Chistyakov. After moving to Moscow, he established himself through large-scale paintings such as The Morning of the Streltsy Execution (1881), Menshikov in Beryozovo (1883), and Boyarynya Morozova (1887).
Vasily Surikov’s Morning of Execution of the Streltsy presents a powerful scene of political violence and human suffering. Set against the magnificent architecture of St. Basil’s Cathedral, the painting contrasts imperial power with the anguish of ordinary people. The condemned Streltsy appear frightened and helpless, while their families express grief, desperation, and resistance. The white-clad figure symbolizes the dignity of those facing death, while Peter the Great’s presence represents the ruthless authority of the state. Surikov avoids glorifying political power; instead, he emphasizes its devastating human consequences. The crowded composition, expressive faces, and dark atmosphere create a sense of tragedy, fear, and inevitable destruction.
