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