Pavel Andreyevich Fedotov (born June 22 [July 4, New Style], 1815, Moscow, Russia—died Nov. 14 [Nov. 26, New Style], 1852, St. Petersburg) was a Russian painter who is considered the father of Russian domestic genre painting. Russian genre painters of the school of realism of the second half of the 19th century perceived him as their forerunner.

Fedotov’s painting career lasted only eight years (1844–52). An officer and regimental painter, he came to find that art and military service were incompatible, and he retired from the army in 1844. In the early 1850s he suffered a psychological breakdown through which he continued to paint until he was institutionalized; he died in an asylum in 1852. During these few years, he not only defined the perspective of Russian genre painting but also widened the borders of the expressive possibilities of genre painting in general. He had begun drawing in dilettante fashion, entertaining friends with lighthearted sketches, and sporadically attending drawing classes at the St. Petersburg Academy of the Arts. But he quickly evolved from the narrative and edifying satire of his first sepia drawings and paintings (The Fresh Cavalier, 1846) to the tragic minimalism of his last paintings (Encore, Once Again!, 1851–52, and The Gamblers, 1852).

In the first genre works of Fedotov—moralistic and critical satires in the spirit of William Hogarth, whom he held in high esteem—his style tended toward dramatic pose and narrative density, qualities that disappear in his later works. In his earlier works, Fedotov used narrative in a critical mode, but this sense clashed with his painterly aspirations, and his obsession with beauty ultimately prevailed over his gift for social satire. Beginning with The Fastidious Bride (1847), Fedotov took a more lyrical approach toward content; in one of his most famous paintings—The Widow (1851–52)—it is openly romantic.

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On the other hand, in his painting Encore, Once Again!, the flickering candle in the centre of the still life on the table is the only source of light. Genre painting is by definition about life, yet in this ostensible genre painting life has become static, and the time of the action seems an endless monotony, as the redundancy of its title suggests. It is as if colour itself has nowhere to spread or settle in the dense space: it meanders aimlessly, apathetically smoldering or flaring up in the twilight. A similar feeling can be detected in The Gamblers; the boundaries of the room disappear, its details acquiring a metaphorical meaning: empty picture frames symbolize the ghostly, depleted existence of the grotesque individuals portrayed. With these works, Fedotov pushed the boundaries of 19th-century genre painting. They point directly to the 20th century, their tensions and contradictions being not those of genre but of artistic language.