For example, showing Petrograd from above to give the painting global importance. According to his own philosophy, Kuzma Petrov-Vodkin developed an axis of any object entirely vertical to the surface inclined radially towards the center of the Earth due to gravity. By depicting space from the upper and peripheral points, it allowed the viewer to discern a spherical shape of the globe. Likewise, in The Year 1918 in Petrograd (Madonna of Petrograd), the multiple lines of perspective in the painting refer to the symbolism of the icon. By experimenting with perspective and composition, Petrov-Vodkin created a somewhat ethereal space, which invites interaction with the viewer and even draws them into the space. With no linear perspective and no vanishing point outside the painting, Petrov-Vodkin achieves this in the background by expanding the buildings and people radially away from the viewer, while in the foreground the mother and child are framed by the viewer's balustrade and white columns. side to bring up the icon window. Perspective is extremely powerful as space expands in all directions, so the composition acquires a cosmic scale, which elevates the subject of the work.