| By the end of the first half of the 19th
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| | clearly recognizable in these two
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| Century, Russian intellectuals supported
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| | paintings.The Date is particularly
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| the need for reform in Russia. Russia had
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| | remarkable. When viewing the painting, you
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| entered the age of capital development.
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| | can sense the same strain and emotional
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| Influenced by the liberal ideas of
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| | disconnect that you find in On the
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| Chernyshevsky and Belinski, the Itinerant
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| | Boulevard. At first glance nothing seems
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| movement established the first Free
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| | askance in either painting. You sense
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| Society of Artists in Russia. The founding
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| | nothing amiss due to the lack of action or
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| of the Itinerant's movement was a measure
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| | covert tension. You see two people sitting
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| calculated to express the need for
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| | on a bench - one of them a young woman
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| rejection of the social order in Tsarist
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| | with a child, newly arrived from the
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| Russia. The objectives of the Itinerants
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| | village to visit her husband. Her husband
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| were:
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| | sitting beside her has become a foreigner
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| - the enlightenment of the people by
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| | to his family and apparently has been so
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| affording them the opportunity to learn
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| | for sometime. The more you look the more
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| about the new Russian art;
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| | you see of a tragedy slowly unfolding
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| - the aesthetic objective of forming a
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| | before your very eyes. The viewer becomes
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| new artistic sense and taste;
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| | aware of the contrast between the
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| - the economic objective of attracting
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| | interplay of the people and the
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| new buyers in order to have a market for
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| | surrounding beauty of an August day on an
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| the new art. Itinerants (Peredvizhniki)
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| | old Moscow street, oblivious to the
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| List: I.Shishkin, N.Ghe (Gay), V.Perov,
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| | tragedy between the husband and wife.The
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| I.Kramskoi, I.Repin, V.Surikov,
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| | oldest artist among the itinerants was
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| G.Myasoedov, Kamenev, A.Savrasov, Amosov,
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| | Vasiliy Perov. His creativity played a
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| Ammon, M.P.Klodt, M.K.Klodt,
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| | special role in the establishment of
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| Pryanishnikov, A. Bogolyubov, Gun (Huns),
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| | Russian realism. In his painting Religious
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| V.Makovskiy, N.Makovskiy, K.Makovskiy,
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| | Procession on Easter that belongs to his
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| V.Maksimov, K.Bryullov, K.Savitskiy,
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| | early period, we can find a critical
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| A.Kuindji, Bronnikov, V.Vasnetsov,
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| | tendency, a typical feature of early
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| A.Vasnetsov, Litovchenko, Lemokh,
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| | realism. He criticizes priests that are to
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| V.Polenov, Volkov, Leman, Nevrev,
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| | bring the faith to the people but actually
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| Kharlamov, Kuznetsov, Bodarevskiy,
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| | do not deserve to be the Lord's pupils.
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| N.Dubovskoy, Svetoslavskiy, N.Shil'der,
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| | Following a period of creativity, Perov
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| Arkhipov, I.Levitan, I.Ostrouhov,
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| | tried to avoid a rude unmasking of
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| Zagorskiy, Lebedev, Stepanov, Pozen,
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| | people's sins and defects. He starts
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| Kasatkin, Miloradovich, Shanks, V.Serov,
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| | telling a sad story of contemporary
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| Bogdanov-Bel'skiy, I.Bogdanov, A.Korin,
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| | reality. Seeing -off the Deceased is a
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| Endogurov, Nesterov, Baksheev, Orlov,
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| | story in art in which we can see the image
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| Kostandi.With the onset of the itinerant
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| | of a peasant woman free from idealization.
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| movement, new terms to describe Russian
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| | Her fate gains the sympathy and compassion
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| art began to be heard. Phrases such as
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| | of the viewer. The landscape in an
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| "enlightening," "aesthetic objective,"
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| | artist's paintings starts playing a
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| "economic objective," "new," "fresh," "for
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| | specific role in setting the mood of the
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| the first time" were heard all over the
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| | whole painting. In the 1870s, Perov
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| country. This was the first time in the
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| | changed from sad and tragic subjects. He
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| history of the Russian world of art that
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| | started depicting common people happy with
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| the subject matter was rich and expansive.
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| | their simple human joy and hobbies. He
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| The method used by these artists was to
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| | depicted fishermen, hunters on the holt,
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| conduct traveling art exhibits in Moscow,
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| | and bemused duck hunters.The creative
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| St. Petersburg, and other large cities
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| | heritage of Ilya Repin plays a special
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| throughout Russia. This set the Itinerants
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| | role in genre painting and in Russian art
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| on a collision course with the forces of
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| | as a whole. He is considered to be the
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| the Academy and set the stage for an
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| | most talented and famous Russian painter.
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| entirely new type of art. Russian art has
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| | His interests in painting were pointed
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| never looked back. Everyone in Russia
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| | mainly to contemporary subjects. He was
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| became involved in the conflict. Critics,
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| | interested in all aspects of Russian
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| artists, academics, newspapers,
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| | reality, but his talent was more fully
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| politicians, and even the common people
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| | revealed in genre and portrait painting.
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| could not let the matter rest. Exhibition
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| | His works can be considered as an
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| halls became battlegrounds between the new
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| | encyclopedia of Russian life with its
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| and the old. Today it is difficult to
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| | heroes and events. His first famous
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| understand that the emotion of the times
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| | painting, Barge Haulers on the Volga,
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| and the results of the movement clearly
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| | painted while he was a student of the
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| shook the forces of empire to their very
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| | Academy of Fine Arts, showed his talent
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| depths.The itinerant artists themselves
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| | and characteristic manner of work. Unlike
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| were from all walks of life and age. Some
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| | the artists who had treated this subject
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| were peasants, and some were of the
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| | before, Repin was much more interested in
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| nobility, but all were united in a single
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| | the participants of the scene. He wanted
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| goal. That goal was to depict life in
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| | the viewers to see their fates and
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| Russia as it really was. The difference
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| | personalities more than the hard labor
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| between this path and Classicism and
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| | they were forced to perform. He was the
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| Romanticism was that for the first time
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| | first in the history of art who tried to
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| painting was focused on present day
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| | peer into people's faces to understand who
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| reality. The artist's hand was freed from
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| | they were. For the first time a common
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| the restrictions of lofty ideals. Painting
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| | Russian man was depicted as a hero of
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| reflected events and the contradictions of
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| | artistic work. He didn't idealize his
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| Russian society. The lives of common
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| | heroes but tried to demonstrate their
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| Russian people including their struggles
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| | personality. For the first time people
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| against oppression were revealed through
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| | could see a group portrait of miserable
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| art. The love of the Russian people for
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| | and humiliated Russian people.Such an
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| their country and its nature was deified,
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| | artist's aspiration to concentrate
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| and for the first time, paintings were
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| | attention on the psychology of the
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| free of social prejudice. One must be
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| | bargemen was always Repin's characteristic
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| aware that all the while Russia, unlike
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| | feature. Another illustration of this was
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| other Western European countries, was a
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| | his painting Religious Procession in Kursk
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| land where the political freedom to
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| | Province. This painting is very typical of
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| express oneself was strictly prohibited.
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| | Repin and is remarkable for its
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| Free expression was prohibited almost to
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| | characteristic details of that time. Being
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| the point of non-understanding in this
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| | a talented artist he had a wonderfully
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| country. It was only in the field of the
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| | keen feeling of the main idea that needed
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| arts (painting, literature, music,
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| | to be expressed. One of the features of
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| theater, etc.) that there was any
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| | art of the 1870-80s was the tendency to
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| possibility self expression. This led the
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| | create big monumental works whereby a
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| Itinerants to feel as if they were given a
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| | person viewing the one life depicted on
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| special responsibility to effect change.
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| | the canvas could analyze present day
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| The artists willingly took on this mission
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| | reality and see the whole historical epoch
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| as a sacred duty. The great Ilya Repin
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| | of the Russian people. This technique
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| wrote that artists come from the people
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| | illustrated that genre painting proved to
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| and that the people expect art that
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| | be as powerful and as important as
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| reflects a clear understanding of
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| | historical painting. Genre paintings
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| conditions and nature.This generation of
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| | illustrated the life of the Russian
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| Itinerants tried to analyze and determine
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| | province, in both events and in human
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| what art was and what role it played in
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| | portraits. The action in Religious
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| social life. The great Russian art critic
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| | Procession in Kursk Province takes place
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| Vladimir Stasov defined this aspiration as
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| | in a province famous for its dense
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| follows: "The artists striving to unite to
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| | forests, but in the picture we can see
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| setup their own society were not doing it
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| | only stumps left after the trees had been
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| for the purpose of creating beautiful
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| | cut down. Modern man's activity resulted
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| paintings and statues for the sole purpose
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| | in the destruction of nature. We see
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| of earning money. They were striving to
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| | crowds of people marching along the dusty
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| create something for the minds and
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| | road.The composition was arranged in such
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| feelings of the people." This is why
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| | a way that we almost feel the crowd moving
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| arguments that arose at the exhibition
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| | forward, about to crush the spectator.
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| halls were concerned with far more than
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| | Real religious faith can be read on the
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| pure artistic arguments. The artists
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| | faces of heroes depicted on the left of
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| themselves were of varying talent, and
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| | the canvas and especially in the face of
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| different painting genres, but as members
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| | the hunchback on the foreground. Note that
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| of the Society became "Universal Artists,"
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| | he is pushed aside by the policeman riding
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| who worked in different forms of art. For
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| | a horse because this poor cripple might
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| example, the most talented of the
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| | disturb rich people proceeding along the
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| Itinerants (Repin, shishkin, and others)
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| | road. (Didn't Christ say we are all equal
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| worked in both painting and drawing. As a
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| | before him?) The painting shows us two
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| result of their efforts, easel drawing
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| | extremes: superficial, cold, hypocritical
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| stopped being merely preparatory work for
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| | religious feelings on the right half and
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| future paintings and developed into an
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| | true believers in God in the left half of
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| independent form of art.Other examples of
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| | the painting. These people are rejected by
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| multi-talented artists include artists
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| | this insincere society on the left part of
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| such as Vasiliy Polenov and Victor
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| | the painting. By paying such attention to
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| Vasnetsov. These two Itinerants worked,
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| | the individuality of a person, Repin
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| not only as easel painters, but each also
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| | displays the great variety of types and
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| devoted a great deal of time in reviving
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| | characters of his heroes. In the
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| theater scenery painting thus laying the
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| | foreground we see a rich merchant woman
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| foundation for the tradition of Russian
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| | avidly holding a icon. She is drawn into
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| theater decor that reached its peak at the
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| | arrogance, clearly breaking a main tenet
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| turn of the 19th and 20th Centuries. This
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| | of Christianity. We can spend hours
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| effort was done in conjunction with
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| | examining the painting whereby the motley
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| artists of another artistic society, the
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| | crowd is represented as an integral part
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| World of Art. Vasnetsov, among others,
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| | of the Russian people.Painting present day
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| also created many mural paintings for
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| | reality, Repin managed to reveal a new
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| churches. Being universal artists, many
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| | social phenomena by using new
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| Itinerants worked successfully in other
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| | participants. He was an artist forever
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| genres. Ivan Kramskoi, Nikolai Ghe, Ilya
| |
| | seeking new subjects, themes, images and
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| Repin, and Vasiliy Surikov were fine
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| | means of expression. Many times in his
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| portraitists and history theme painters.
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| | paintings he addressed new social and
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| Polenov was an historical painter as well
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| | political moods and, of course,
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| as a landscapist. Nikolai Yaroshenko
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| | revolutionary events. The policy of terror
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| worked in portrait, landscape, and genre
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| | carried out by several revolutionary
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| painting. In spite of multi-talented
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| | organizations entailed cruel murders of
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| artists that worked in many genres, one
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| | some prominent politicians and the
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| must not forget, subjects and heroes, the
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| | assassination of Emperor Alexander II in
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| images of Russian nature and human destiny
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| | 1881. This consequently resulted in
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| always remained the main themes of their
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| | extremely strict and bloody responses by
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| creativity. While working on these motifs
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| | the Government. As the country became more
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| each artist revealed his own understanding
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| | and more submerged in the blood of
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| of the fundamental problems of human
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| | innocent victims, the attitude towards
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| existence.In order to comprehend the work
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| | revolutionaries gradually changed in the
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| of the Itinerants more fully, one must
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| | society. Art in this matter absorbed and
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| examine some of the new tendencies brought
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| | reflected all topical ideas. Initially
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| by the Itinerants to Russian art. Genre
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| | revolutionary activity was often compared
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| painting was the primary method of
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| | with the excruciating life and death of
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| bringing realism to Russian art though it
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| | the saints of the Gospel who sacrificed
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| was not new for Russian art in the whole.
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| | their lives for faith. Repin was affected
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| The range of themes represented here was
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| | by these ideas, and he painted his Refusal
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| extremely wide, embracing studio works
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| | to Confess which glorified fanatical ideas
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| depicting everyday life in the city and
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| | of the day.Afterwards he conceived the
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| peasant life in the country. In some
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| | idea of another work They did not expect
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| instances huge paintings were created in
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| | him, a story about the return of an exiled
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| order to accomplish these goals.Before
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| | convict. The interesting thing is that
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| serfdom was abolished by the reform act of
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| | originally Repin planned for a woman to be
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| 1861, peasants had belonged to a landlord.
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| | the main actor in the painting, as women
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| The liberation of the serfs entailed many
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| | were fighting for these new ideas next to
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| new problems in society. The serfs were
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| | men. Later the artist gave up this idea
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| freed but were not given the right to own
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| | having considered that it would add some
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| land. Therefore, they had no means of
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| | sentimental aspect to the painting.
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| support. Many serfs fled to the cities and
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| | Besides, he realized that the question of
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| into the arms of a miserable existence.
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| | the main hero was not so relevant compared
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| They were no longer peasants but they did
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| | to the subject itself. Terrorists were
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| not find acceptance in the cities. They
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| | ready to die for the sake of the idea and
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| were no longer able to always maintain the
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| | for the sake of their loved ones. Did
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| ties that had previously bound them to
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| | these loved ones want such a sacrifice to
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| their families. The villages they left
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| | be made? How did relatives meet these
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| behind had also changed. Customary ways of
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| | returning anarchists after being separated
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| making a living were changed forever, and
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| | for decades? Repin's contemporaries
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| again family relations were affected. The
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| | usually associated this painting with the
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| peasantry became very heterogeneous and in
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| | parable of the return of the prodigal son.
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| some cases were able to engage in cottage
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| | None of the artists expressed an opinion,
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| industry that changed their relationship
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| | thus making the viewer decide the destiny
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| with the local nobility. A classic
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| | of the hero.Bloody events of reality had
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| painting by Maximov, The Division of the
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| | not always been reflected directly in
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| Family Property is a sterling example of
| |
| | genre painting. The background of Repin's
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| this change in Russian lifestyles.
| |
| | Ivan the Terrible and his son Ivan was an
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| Vladimir Makovskiy, a very prolific
| |
| | expression of the artist's feeling of the
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| artist dedicated his creative works to a
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| | atmosphere and smell of spilled blood in
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| reflection of urban life. His paintings
| |
| | the room where Ivan the Terrible is
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| The Date and On the Boulevard are perhaps
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| | holding the head of his son. A son he had
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| his two best works. By depicting ordinary
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| | just struck in the head with a stave and
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| life he managed to reflect the deepest
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| | murdered in a fit of temper. Another
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| tragedies of contemporary society. The
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| | painting Nicholas from Mirl, calls for
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| poverty of the most vulnerable members of
| |
| | love and forgiveness and shows us how the
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| society children and their miserable
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| | main hero, Saint Nikolai, intervenes at an
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| existence, mothers being doomed to the
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| | execution and saves the lives of people
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| worst, the estrangement of sons totally
| |
| | sentenced to death.Continue in Part
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| exhausted by backbreaking labor were
| |
| | IIMichael E.
|
