The theme of manor culture, which is presently disappearing further into the past, had a special appeal for Stanislav Zhukovsky. In the artist’s paintings, this is reflected in the manor and park landscapes, as well as in the lovingly painted interiors of old houses. No wonder the artist’s contemporaries called him the singer of the Russian estate, and he said about himself:

Stanislav Zhukovsky tried his hand at interior painting during his apprenticeship, and this topic flourished in his works from the beginning of the 20th century. The artist dedicated works to this theme until his very last days.

The Kaluga Museum of Fine Arts houses one signed work, an example of interior painting by Stanislav Zhukovsky — the canvas “Interior of a Room”. It depicts the corner part of a room, the focal point of which is a dressing table with a mirror enclosed between two windows and a carved armchair next to it. On the right is a small table with curved legs, with house plants on the tabletop, and another armchair. Creating this interior painting, the artist tried to convey not only the beauty and elegance of the antique furniture, but also the coziness of the living room. For instance, Stanislav Zhukovsky introduced various details into the work: a colorful pillow on the chair, lined up vials and small ampuls on the table, an intricate carpet on the floor.

The choice of the angle from which the artist chose to depict the room is also interesting: he moved away from the symmetrical construction of the composition, shifting the angle of view to the right, so that one window is fully shown, and only a part of the second one is visible. In this work, Zhukovsky skillfully solves a certain artistic task — he conveys the interaction of natural and artificial lighting. The light inside the room, including from the lamp in front of the icon, is juxtaposed with the moonlight outside the window. This interplay of two light sources enlivens the interior, creating a more intimate atmosphere, and enhances the feeling of light and air.

The artist used an original color palette based on contrasts. The warm chestnut-reddish and golden shades of the interior are opposed to the cold blue-green colors of the winter landscape outside, accentuated by the emerald of the upholstered chairs.