ИЛЬЯ РЕПИН. Передвижники

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Ivan the Terrible and his son Ivan November 16,

1581 and by chance, maybe things

happened in the year nine hundred and thirteen with this painting, just a disaster happened, a misfortune happened,

one of the mentally unstable

visitors of the gallery stood for a long time

looking at this painting and then with a cry of "

enough blood" attacked this work, a

regular visitor to the Tretyakov Gallery, the

Old Believer icon painter

Abram Balashov slashed three times with a knife at the

faces on the map,

the attempt on the paid Repina became

a sensation, the

curator of the Gorg

Ruslo gallery threw himself under a train in the capital,

all the postcards with reproductions of Ivan the Terrible were sold out in a month, the

painting, in general, began to be restored,

first the author himself was invited in

thirteenth year, I had them in the evening, he was

alive and well, but he already sees differently, he

began his own, okay,

rewrite some strange

purple tones,

so he was removed, offended, of course,

they created a restoration commission and so

on The canvas was collected with a thread,

then restored. The painting is as

close to the original as possible

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but his

contemporaries called him the pinnacle of the movement of

Czech realism,

dubbed him by his descendants. He painted

revolutionaries and fighters against the regime and

received government orders for portraits of officials

and ministers for his habit of endlessly

finishing his paintings.

He was banned from entering the Tretyakov Gallery with an easel. The

artist bought canvases without bargaining, and

in his old age he could not get a

canvas for work. He became famous throughout

Europe while still a student, and until his last

days he hurried to the easel

with a student's enthusiasm. Ilya Repin

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from the Ukrainian Chugaev to St. Petersburg. Ilya

Repin came to study with his own people at the age of 15.

He painted icons and sold them to priests for

5 rubles.

Once, already in his last year at the academy, he The

artist Repin, with a cheerful group,

sets out on a passage along the Neva

and suddenly sees a dark, greasy brown spot on the bank.

Since then, he hasn't been able to forget these titans in

rags. He abandons his thesis,

goes to the Volga twice to get to know the barge

haulers better, and paints dozens of

portraits and sketches. Repin, shocked by

this bestial labor of fairy tales, here are

Repin's own words, slippery for home. He

singles out the barge haulers in his painting with

individual features, even trying to

convey some social signs of their

past life. Here, look at the

former soldier Zotov

in copper boots and walks to the office. Here is a

former sailor,

he still has bell-bottoms and a wide sailor suit,

cooks in the office, and is amazed by the former dad. Test

Riga Canin,

seeing the sketches, a member of the royal family, Grand

Duke Vladimir Alexander commissions a

large painting from Repin, and then hangs it in

his house or in a billiard room. But the public will perceive the

barge haulers as a civic statement

by the artist about modern Russia, consonant with

Nekrasov's. To be on the Volga, through the tone, the

Burlakovs wrote not only Regga, yes, that

is, a similar picture can

be found and creativity I will clamp that the utils of

education attack the work of Vereshchagin,

but it was he who showed this

contrast between the beautiful landscape, the

expanse of this society, a bright sunny

day and, as many critics just

noted, this dark spot that

creeps up a third or

that people people just stood and looked

at this picture after the showing of the painting at the

World Exhibition in Vienna, critics

write Repin down as one of the best artists of

the country and the authorities demand that the students of

the Academy be patriotic and not

exhibit shabby and at night for

display in Europe

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After spending three years on an internship in Europe,

Repin continues to write his own

encyclopedia of Russian life in his

next large-scale work and

a whole gallery of folk types goes in a religious procession

and this work arose quite quickly. The

artist's main idea is to present

numerous types of human types,

these are the types of people living in Russia

who could serve as a symbol of

Russia itself. Such as the artist imagined it,

but also partly

what the liberal

intelligentsia of the second half of the 19th

century imagined. They speak on behalf of the

liberal intelligentsia. Ripping is no longer

and has every right to be a member of the most

advanced association of

artists of its time, the Peredvizhniki Society.

Usually, a future participant had to be an

exhibitor, that is, go to the awards to

participate in the exhibition as a

joiner, and the remaining members

had to vote

yes or no. Well, the public, accordingly,

also somehow oriented itself, but Repin

passed this stage. He was immediately

accepted as a member of the society, and all his

procession with the cross becomes the highlight of the

next traveling exhibition.

Repin attracts the public and makes the state. Yes,

Repin often went, that is, before there was an

exhibition,

and if Repin participates there, then in fact,

this could have been it. This ensures

attendance at the art event. Everyone was already waiting.

What new could Repin say?

This was interesting because his

works were sharp in their subject matter and in their

execution, very unusual, therefore, they often

went and for the rating, precisely and considering

that the Peredvizhniki exhibition

traveled all over Russia. People went to

see him not only in Moscow, St. Petersburg, and

Kyiv, but also in many cities. They even

took him to Saratov.

This, of course, was a very positive effect. It

seems to me that Repin especially vividly embodies the idea of ​​the Peredvizhniki (Wanderers) artists' association for the formation of such a

general cultural education for viewers in

Russia at that time.

Instead of legendary subjects and

mythological heroes, art should

show the surrounding reality as it is.

This is the landowner, apparently, with a

gold chain across his fat belly, and

his husband, who trusted in applying a

miraculous icon. Look at their faces. Their faces,

frankly, are not marked with the seal of

virtue or Christianity, not even some kind of

elementary intellect. But

they feel their own significance.

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astonished strings of repulsive

images. The philanthropist Pavel Tretyakov even

asks Repin to depict

at least one good-looking girl in the painting,

and the rhythm erupted in such a creative

explanation of his position,

which sounded like a creative dirty

artist about the truth and the hood of

time to

depict precisely the truth of life on his

canvases. In essence, he had such a

period of life. It can even be called not

so much anti-religious in composition, yes, that is,

this was opposition, it is

no secret to anyone that the church in that period

was naturally and the state was

united, and therefore, rather, such

paintings of an anti-religious nature they

appear, rather, some kind of opposition to the

authorities

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Repin's anti-church opposition will over

the years be replaced by an interest in

religious painting,

he will paint the image of the carrying of the cross for the

Russian Alexander courtyard in

Jerusalem and many other paintings on

gospel subjects that will remain

almost unknown

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and we will examine the painting

Ivan the Terrible and his son Ivan, this is a work

that caused a storm of emotions, of course,

and at the time when it appeared and was

presented to the Russian public and

subsequently there were discussions around it,

Repin takes as a

basis a

historical plot, for that reason it is written

in Karamzin,

Ivan the Terrible in a fit of anger kills

his eldest son, Tsarevich Ivan,

the reaction was very stormy, many

were indignant, how can this be shown to everyone, moreover, it

really has not yet been

proven How did this event happen? It's

sad how Ivan the Terrible's son died.

Therefore, it's difficult to create such a complete

picture that stands in our eyes.

This is a very powerful,

picturesque image that penetrates the

subconscious. In fact, we feel that

this is the truth. Yes, we fainted

on this map,

but Repin is an important planet, and it was important to

convey

this knowledge of horror. The fall. This picture

produces 100% of the most severe

impressions with the abundance of blood.

This frantic gaze of

Ivan the Terrible, who realized the horror of what happened. The gesture

of the prince, somewhat theatrical, who

puts his hand on his father's shoulder. Nothing. They say,

dad, the picture is shown at the 13th

traveling exhibition, but Emperor

Alexander III is outraged by the interpretation of the

historical plot or Pinsk, and the

canvas becomes the first victim of

censorship, which from then on will

control art exhibitions.

Now, why, so that such a face is not

pleasant? They protested.

The sensor somehow reacted this way

because the maddened king is depicted in a fit of

some strange date. Everything

cast a shadow

on the reigning persons.

Soon, the picture will still take its place. A place

in the Tretyakov Gallery exhibition where, almost

30 years after its creation, it

will survive a live attack

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of course, Ilya Efimovich Repin as a

representative of the Peredvizhniki movement, a feeling that he

could not ignore the topic, so to

speak, around which the

Peredvizhniki often walked, this is tyranny, this is the

revolutionary movement, this state,

so to speak, the spiritual people, and so

the picture was not expected, as if they were returning, you

see links to people, and so you see a

man returned, he returns to his family, he rises on the

street, you see his mother

who really recognized him and she

delights in the rotation of children who grew up without him,

they do not recognize him, a picture completely alien to

them, they did

not expect it will become the most famous

of the so-called generic Czech

series by Repin dedicated to dissidents and

fighters against the regime over four years of work

on the picture, and the central character, a

convict, changes beyond recognition,

losing his heroic features,

and in how the river developed the face of the son of

Nova, me and him, since judging by the

critical reviews, here is the first version of

8, 4 years, a

whole was included She was confident in the house and he

felt like a hero,

and in the painting of 1988, he is already a man

who hesitantly enters the house and in

his position, his facial expression has a

certain vulnerability. The

last time Repin repaints the face of an exile is

when the paintings are already hanging on the

wall of the Tretyakov Gallery. Having entered the hall of

his works, the artist cannot

stop; he slightly

corrects the head of Ivan the Terrible and

adds dust over the procession in the

Kursk province. He was very self-critical

of his things and, by the way,

Tretyakov even gave instructions to serve his

Tretyakov Gallery

so that they would not allow portable easels and a

box for handsome men into the

Tretyakov Gallery because Repin

dared to repaint already completed

works. Over the years, Repin became disillusioned

with both revolutionary ideas and the

Itinerants. He developed some

dissatisfaction with the policy of the

Itinerants. He believed that

over the years, the Itinerants

began to push a lot of people against the wall and stopped letting

young artists into their ranks, and

he left whom and what traveling

art exhibitions and such. Repina's exits

from the partnership and then again. There

were several returns throughout

his life, of course, it is

necessary to mention among Repin's works.

Unfortunately, this piece belongs to the

St. Petersburg Russian Museum. But we have a sketch of the

Zaporozhian Cossacks writing a letter to the Turkish Sultan. This

image of the folk element, this

popular freedom that is completely

outside of any generally accepted framework, is also quite typical of the work of the Itinerants. This

amazing freedom, this

scope, such strength, both physical and

spiritual. The

main inspiration for this painting

is the historian Dmitry Ivar Netske,

depicted by Repin as a scribe.

It was he who once read to the artist a

copy of

this legendary letter from the 17th century, just discovered by ethnographers.

The moment when the Zaporozhian Cossacks, having rallied into a

monolithic group around their ataman

Ivan Sirko, is

here. Here, an atom of the Zaporozhian Cossacks smokes a pipe, caps

say, machine guns, gates, and writes a

reply letter to the Sultan.

At this moment, Zaporizhzhia slept naked

to the waist.

Then, a very funny and

childish offer is offered to include a letter, and everyone laughs at his

proposal in search of types. and

the characters for this painting, Repin

travels throughout Zaporozhye

accompanied by his favorite student

Valentin Serov, and he wrote about the success of the Zaporozhian

Cossacks, I'll stop by the squeak,

and this admiration for strength of

character, independence, courage, audacity,

to the Zaporozhian Cossacks, they write

a letter to the Turkish Sultan, and to the torpedo,

he solves a kind of super-portrait problem

for change, you can say, super-

portrait painter, because he

reveals character through laughter, call Pinsk, my

Zaporozhian Cossacks, hunt Tretyakov, but

Emperor Alexander III offers

the artist a very serious sum of 35

thousand rubles and wins this absentee

auction,

receiving the title of professor of painting, and I

love him, he returns to his alma mater, the

Academy of Arts, to become

a teacher and for more than ten years

head his own workshop,

the most popular among students, the

director was such a charismatic

figure that everyone wanted to study with

him, no, for some years in

Repin's workshop she learned to get a person instead of the

required 30,

ripper was something of an innovator, he is

one of The very first masters replicated a

female nude model

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How Russia's most titled artist,

Repin, received a royal commission for a large-scale

painting for the 100th anniversary of the

State Council.

Two of his students, Kustodiev and

Kulikov, were also involved in the work. After all, at 57, Repin's

right hand was losing mobility and he couldn't

paint for long periods of time, as he

had to learn to paint with both his

right and left hands at once. For this, he

needed a palette. Well,

he used it. He invented it himself. It was very

lightweight and made of plywood. He was very proud of

his invention. It was attached to a train, and

then Repin's hands were free, and

the painting with 80 characters. The artist would

finish only three years later, after

which he would leave St. Petersburg for his estate,

Penaty, in the village of Kokola on the Karelian

Isthmus. In this house, Repin would

receive the entire capital's elite as guests,

and in the midst of friendly parties, he would paint

dozens of portraits furtively, despite

doctors' orders,

and on the sly. When the public sat and

read poetry there, or Repin

took part in some heated heated

debates, but he then painted everyone

present out of habit with any

instrument that was at

hand. There is a story that

Repin grabbed, not a half-smoked

cigarette, dipped it in

ink and painted a portrait of one of those

present at that evening. At the beginning of the

20th century, all the newspapers write about how the

famous artist Repin lives in Penates with

his second wife, Natalya Nordman,

and the peculiar order in the house and the

eccentricities of its owner.

Repin served not only as a place for

glider painting, but also as a place for rest.

Here is his famous trestle bed on

which Repin rested. Moreover, he also

preferred to spend the night on it both in

winter and summer. According to the memories of Chukovsky's roots,

you can see

Repin in a wolf fur coat from 12:00 to -14

degrees. The number of

guests in Penates increases.

On Wednesdays, anyone can come here

easily and dine with him for

The famous revolving table in this

wonderful dining room was not to be

helped to serve, and

everyone who wanted to

turned the wheel was served. In this whole situation,

of course, the one who was stronger and more firmly won. He was beaten by the

burner and the

used dishes were stored here.

Wiki

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After the revolution, Repin involuntarily

found himself in exile

along with his estate. Now it was near the

territory of Finland and the border was

locked. The

Soviet authorities were trying to persuade

Repin to return, because for the propagandists of the

new regime, he had become the same mirror of the

Russian revolution

as Leo Tolstoy, but all in vain.

I will never go to your vile Soviet Union, damn it, he will

say, great. Of course, he was

very worried about his, so to speak,

isolation from Russia. On the one hand,

he understood perfectly well that

his public remained in Russia, who loved him, knew him, and

appreciated him. And

in 1924, when Repin's 80th birthday was celebrated, we

invited him to the exhibitions that

were being held at the Russian Museum and the

Tretyakov Gallery.

On the one hand, he wanted to go to

Russia. On the other hand, something strange

stopped him and perhaps

he had no information, he understood that

maybe I should return.

Repin spends the last decades of his life as a widow alone with his

easel. Rare guests notice that he

literally

tortures himself with creativity, working in the

studio. Then there are Obmorokov and Chaliapin, who

posed for the artist in Penates for a long time. They

once painted Repin himself,

looking longingly from Finland at

Petrograd. I really need one like this.

I spent one winter alone because he had

basically nothing left in his

wallet, and it

turned out that his closest acquaintances and so on also left. That is,

he

found himself almost completely isolated.

Of course,

some of his acquaintances helped, but you were

missing. Fabrice, they had very little to do there.

Here is his daughter, then what he didn't come up with.

Hell, to feed himself, no, they

really only heated one

small room of the studio. The whole house

was generally cold. But it's hard to break a

man who, in his own

words, loves art more than

family than friends.

He continues to create as if he did

n't notice either old age or poverty.

Repin painted his last self-portrait in 1920 on oilcloth. Canvas was no longer

available at that time, or I and the key.

Unfortunately, I used different materials.

This self-portrait was painted exactly the same way on

oilcloth as the

Zaporizhian dance hopak.

Note that he is wearing winter clothes

because, unfortunately, the situation here is

critical.

Agrippina doesn't have enough firewood, and he is having a very

hard time, not so much physically as

mentally.

Although many researchers of Lipin's

legacy write about how

hard it was for Repin after 1918, that there weren't enough

materials, not enough food,

but here there is a lot of hunger and cold in the penates.

As once in his student days, Repin painted

gospel scenes on assignment from the academy.

In the last years of his life, he painted them for the

soul. In the studio, behind the curtains,

two large paintings of the artist will remain: a

cheerful hopak and complete suffering,

Golgotha. Repin will only summarize his earthly life

in one of his last

letters, now spread out in the dust.

years give

thanks completely touched by the good

world

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