Ilya Repin

Ilya Yefimovich Repin ( – 29 September 1930) was a Ukrainian-born Russian painter. He became one of the most renowned artists in Russia in the 19th century.

Repin suffered one setback in 1885 when his history portrait of Ivan the Terrible killing his own son in a fit of rage caused a scandal, resulting in the painting being removed from exhibition. But this was followed by a series of major successes and new commissions. In 1898, with his second wife, he built a country house, which he called "The Penates" ('Penaty' in Russian) in Kuokkala, Viipuri Province, Finland, where they entertained Russian society. The house and garden now constitute the Penaty Memorial Estate,

In 1905, following the repression of street demonstrations by the Imperial government, Repin quit his teaching position at the Academy of Arts. He welcomed the February Revolution in 1917 but was appalled by the violence and terror unleashed by the Bolsheviks following the October Revolution. Later that year, Finland declared its independence from Russia. Following this event, he was unable to travel to Saint Petersburg (renamed Leningrad), even for an exhibition of his own works in 1925. Repin died in 1930 at the age of 86 and was buried at the Penates.

Biography

Early life and work

thumb|upright=1.0|Students Studying for an Exam at the Academy of Arts, [[State Russian Museum (1864)]]

Ilya Yefimovich Repin was born on in Chuguev, a town then in the Kharkov Governorate of the Russian Empire and now in Ukraine. His father, Yefim Vasilyevich Repin (1804–1894), was a military settler who served in an Uhlan regiment of the Imperial Russian Army. He fought in the Russo-Persian War of 1826–1828, the Russo-Turkish War of 1828–1829, and the Hungarian campaign of 1849. When his father retired from the army in the early 1850s, after 27 years of service, he became an itinerant merchant selling horses. Although some sources referred to Repin as having Cossack or Ukrainian ancestry, he had none; instead, he identified as a Russian born in Little Russia – the name applied to Ukraine at the time. His ancestors were ethnic Russians who served in the streltsy and were sent to Chuguev to assist local Cossacks. Despite this, he felt affinity with both the Cossacks and Ukrainians.

Repin's mother, Tatyana Stepanovna Repina (; 1811–1880), was also the daughter of a soldier. She had family ties to noblemen and officers; the Repins had six children and were moderately well-off. He had two younger brothers: one who died at the age of ten, and another named Vasily. Repin spent much of his childhood in the provincial town of Chuguev, located from Kharkov, the second-largest city in Little Russia.

In 1855, at the age of eleven, he was enrolled at the local school where his mother taught. He showed a talent for drawing and painting, and when he was thirteen, his father enrolled him in the workshop of Ivan Bunakov, an icon painter. He restored old icons and painted portraits of local notables. At the age of sixteen, his skill was recognized, and he became a member of an artel, or cooperative of artists, the Society for the Encouragement of Artists, which traveled around Voronezh province to paint icons and wall paintings.

Repin had much higher ambitions. In October 1863, he competed for admission to the Imperial Academy of Arts in the capital, Saint Petersburg. He failed in his first attempt, but persevered, rented a small room in the city, and took courses in academic drawing. In January 1864 he succeeded and was allowed, without fee, to attend classes.

He remained in Paris for two years. He described his subjects as "the principal types of Parisians, in the most typical settings." He painted the street markets and boulevards of Paris, and especially the varied faces and costumes of the Parisians of every class. His major Russian work created in Paris was Sadko (1876), a mystical allegory of an undersea kingdom, which included elements of Art Nouveau. He gave the young heroine a Russian face, surrounded by a strange and exotic setting. He wrote to his friend the civic Stasov: "This idea describes my present situation, and perhaps, the situation of all of our Russian art".

Moscow and "The Wanderers" (1876–1885)

File:Procesión de Pascua en la región de Kursk, por Iliá Repin.jpg|Religious Procession in Kursk Province (1880–1883; Tretyakov Gallery, Moscow)

File:Ilya Repin - Крестный ход в Курской губернии - Google Art Project detail2.jpg|Detail of the Religious Procession in Kursk Province (1881–1883)

File:Iván el Terrible y su hijo, por Iliá Repin.jpg|Ivan the Terrible and His Son Ivan, Tretyakov Gallery (1885)

File:Sophia Alekseyevna, by Ilya Repin.jpg|The Tsarevna Sophia Alekseyevna, Tretyakov Gallery (1879)

File:Ilya Repin Unexpected visitors.jpg|They Did Not Expect Him, Tretyakov Gallery (1884–1888)

</gallery>

Repin returned to Russia in 1876. His son Yury was born the following year. He moved to Moscow that year, and produced a wide variety of works including portraits of the painters Arkhip Kuindzhi and Ivan Shishkin. He became involved with the "Wanderers", an artistic movement founded in St. Petersburg in 1863. The style of the Wanderers was resolutely realistic, patriotic, and politically engaged, determined to break with classical models and to create a specifically Russian art. It involved not only painters, but sculptors, writers and composers.

Repin created a series of major historical works, including the Religious Procession in Kursk Governorate (1883), which was presented at the 12th annual exposition of the Wanderers. It was notable both for its extraordinary crowd of realistic figures, including surly policemen, weary monks, children and beggars, each expressing a vivid personality. He also experimented with outdoor sunlight effects, apparently influenced by the impressionists and his outdoor studies in France.

The portrait of Tsarevna Sophia Alekseyevna is one of his most tragic historical works. It depicts the daughter of Tsar Alexis who became regent of Russia after the death of her father, but then was deposed from power in 1689 and locked away in a convent by her half-brother, Peter the Great. The painting captures her fury as she realises her future life.

They Did Not Expect Him (1884–1888) is a notable and subtle historical work of the period, depicting a young man, a former narodnik or revolutionary, emaciated and frail from prison and exile, returning unexpectedly to his family. The story is told by the different expressions on the faces of his family and small details, such as the portraits of Tsar Alexander III and of favourite Russian poets on the wall.

Repin and Tolstoy

File:Ilya Efimovich Repin (1844-1930) - Portrait of Leo Tolstoy (1887).jpg|Portrait of Tolstoy (1887)

File:Leo Tolstoy03.jpg|Tolstoy reading under a tree in the forest, Tretyakov Gallery Moscow (1891)

File:Leo Tolstoy02.jpg|Tolstoy writing at Yasnaya Polyana, Pushkin House (1891)

File:Ilya Repin - Leo Tolstoy Barefoot - Google Art Project.jpg|Tolstoy barefoot, State Russian Museum, St. Petersburg (1901)

File:1908РепинТолстой.JPG|Portrait of Tolstoy shortly before his death (1908)

</gallery>

In 1880, Leo Tolstoy came to Repin's small studio on Bolshoi Trubny street in Moscow to introduce himself. This developed into a friendship between the 36-year-old painter and the 52-year-old writer that lasted thirty years until Tolstoy's death in 1910. Repin regularly visited Tolstoy at his Moscow residence, and his country estate at Yasnaya Polyana. He painted a series of portraits of Tolstoy in peasant dress, working and reading under a tree at Yasnaya Polyana. Tolstoy wrote of an 1887 visit by Repin: "Repin came to see me and painted a fine portrait. I appreciate him more and more; he is lively person, approaching the light to which all of us aspire, including us poor sinners."

His portrait of Mikhail Glinka, composer of the opera Ruslan and Ludmilla (1887) was an unusual work for Repin. The portrait was painted after Glinka's death (Repin never met him), and was based on drawings and recollections of others. Other composers painted by Repin included Alexander Glazunov who had just completed Borodin's opera "Prince Igor", and Anton Rubinstein the founder of the Saint Petersburg Conservatory of Music.

Many of Repin's finest portraits were produced in the 1880s. Through the presentation of real faces, these portraits express the rich, tragical, and hopeful spirit of the period. His portraits of Aleksey Pisemsky (1880), Modest Mussorgsky (1881), and others created throughout the decade have become familiar to whole generations of Russians. Each is completely lifelike, conveying the transient, changeable nature of the sitter's state of mind. They give an intense embodiment of both the physical and spiritual life of the people who sat for him.

In 1887 he was separated from his wife Vera. He visited Tolstoy at Yasnaya Polyana, and painted his portrait, and then took a long trip along the Volga and the Don, to the Cossack regions. This trip gave him material for his most famous historical work, Reply of the Zaporozhian Cossacks. The painting depicts an apocryphal event in 1678, when a group of cossacks supposedly amused themselves by drafting a highly insulting letter to the Turkish sultan, addressing him as "The Grand Imbecile". Repin worked on this painting periodically between 1880 and 1891, creating an extraordinary ensemble of expressive faces. Most of the models were faculty members from the Academy of Arts, and had a variety of nationalities, including Russians, Ukrainians, a Cossack student, Greeks, and Poles. The Cossack with a yellow hat, at the top right and almost hidden by Taras Bulba, is Fyodor Stravinsky, an opera singer with the Mariinsky Theatre, of Polish descent, and the father of the composer Igor Stravinsky. The central figure in the painting was inspired by a legendary Cossack leader Ivan Sirko, modeled by Russian General Mikhail Dragomirov. The finished work was so popular that he painted a second version.

File:Repin Comune.JPG|The Wall of Pere Lachaise Cemetery Commemorating the Paris Commune (1883) (Tretyakov Gallery)

File:Alexander III reception by Repin.jpg|Tsar Alexander III Receives Local Government Officials at Petrovsky Palace (1886)

File:Nikolay II of Russia by I.Repin (1896, GIM).jpg|Tsar Nicholas II (1896) by Repin

</gallery>

In 1890, he was given a government commission to work on the creation of a new statute for the Academy of Arts. In 1891 he resigned from the Wanderers in protest against a new statute that restricted the rights of young artists. An exhibition of works by Repin and Shishkin was held in the Academy of Arts, including Reply of the Zaporozhian Cossacks. In 1892 he held a one-man exhibition at the History Museum in Moscow. In 1893 he visited academic art schools in Warsaw, Kraków, Munich, Vienna, and Paris to observe and study teaching methods. He spent the winter in Italy and published his essays Letters on Art.

In 1894, he began teaching a class at the Higher Art School attached to the Academy of Arts, a position he held, off and on, until 1907. In 1895 he painted portraits of Emperor Nicholas II, and Princess Maria Tenisheva. In 1896, he attended the All-Russian Exhibition in Nizhny Novgorod. His paintings were exhibited in Saint Petersburg, at the Exhibition of Works of Creative Art. His paintings from this year included The Duel and Don Juan and Dona Anna. In 1897, he rejoined the Wanderers, and was appointed rector of the Higher Artistic School for a year. In 1898 he traveled to the Holy Land, and painted the icon Carrying the Cross for the Russian Orthodox Alexander Nevsky Cathedral in Jerusalem. After returning to Russia, he attended Pavel Tretyakov's funeral. In 1899 he joined the editorial board of the magazine World of Art, but soon quit.

Move to Finland (1890)

File:Self portrait with Nordman by Repin.jpg|Self-portrait with Natalia Nordman (1903). Ateneum, Helsinki.

File:Илья Репин - Какой простор.jpg|What Freedom! (1903)

File:Repino.jpg|The Penaty Memorial Estate, originally in Finland, now in Repino, Saint Petersburg

</gallery>

In 1890, Repin met Natalia Nordman (1863–1914), who became his common-law wife. She was the daughter of an admiral, a writer and feminist, an activist for the improvement of working conditions. She advocated a simple life close to nature. In 1899, he acquired land near the village of Kuokkala, about forty kilometres north of St. Petersburg, and they built what is the Penaty Memorial Estate, a country house, which became his home for the next thirty years. It was located in the Viipuri Province of the Grand Duchy of Finland, about an hour by train from St. Petersburg. At first he used it only as a summer house, but after he resigned from the St. Petersburg Academy of Fine Arts in 1907, it became his full-time home and studio.

It was a rather eccentric estate, including a studio covered with a pyramidal lantern roof, a landscape garden with a "Pushkin alley" of trees, a multicoloured music kiosk in the Egyptian style, and a telescope overlooking the Gulf of Finland. He hosted vegetarian breakfasts for his guests (a practice he adapted from Tolstoy), and very elaborate receptions on Wednesdays. His Wednesday guests included the opera singer Chaliapin, the writer Maxim Gorky, the composer Alexander Glazunov the writer Aleksandr Kuprin; artists Vasily Polenov, Isaak Brodsky and Nicolai Fechin as well as poet Vladimir Mayakovsky, philosopher Vasily Rozanov and scientist Vladimir Bekhterev.

In 1900, he took Nordman to the World Exhibition in Paris, where he served as a painting judge. They visited Munich, the Tyrol, and Prague, His painting Get Thee Behind Me, Satan! was shown at the 29th Exhibition of the Wanderers. In 1901, he received from the tsar one of his largest commissions, portraits of all sixty members of State Council. He proceeded with the help of photographs and the aid of two of his students. One of the subjects was Alexander Kerensky, the Russian president before the Bolshevik seizure of power. In addition to his government commissions, he found time for a light work on an entirely different theme; a painting in 1902–1903 called What Freedom! depicting two students dancing in the waves at the beach after completing their examinations.

Revolution and disillusion (1900–1905)

File:Nordman by Repin 1900.jpg|Natalia Nordman in a Tyrolese Hat (1900)

File:Repin In the sun.jpg|In the Sunlight: Portrait of Nadezhda Repina (1900)

File:Ilya Repin - Ceremonial Sitting of the State Council on 7 May 1901 Marking the Centenary of its Foundation - Google Art Project.jpg|Ceremonial Sitting of the State Council on 7 May 1901 Marking the Centenary of its Foundation (1902–1903). Repin was a pioneer in photographic realism.

File:Repin 17October.jpg|Demonstration on 17 October 1905 (1905)

</gallery>

The repression of popular demonstrations in front of the Winter Palace in St. Petersburg in 1905 disillusioned Repin. He called 1905 "the year of disaster and shame". He resigned from his teaching post at the Academy of Fine Arts, and concentrated on painting. The movements toward democracy in the early 20th century inspired Repin, he joined the Constitutional Democratic Party, was offered the rank of Councillor of State, and was invited to take a seat in the Duma, the national assembly. He made a colourful painting of the celebration of the new Russian Constitution of 1905. Later, he painted the portrait of the newly-elected Russian President, Alexander Kerensky.

Repin concentrated on writing his memoirs, which he finished in 1915. He visited St. Peterburg to see expositions, including a 1909 show of works by the modernist Wassily Kandinsky. Repin was not impressed; he described it as "the swamps of artistic corruption".

He visited Munich, the Tyrol, and Prague, and painted Natalia Nordman in a Tyrolese Hat and In the Sunlight: Portrait of Nadezhda Repina. In 1901, he was awarded the Legion of Honor. In 1902–1903, his works included the paintings Ceremonial Meeting of the State Council and What a Freedom!, over forty portrait studies, and portraits of Sergei Witte and Vyacheslav von Plehve.

In 1904, he gave a speech at a memorial gathering for the artist Vasily Vereshchagin. He painted a portrait of the writer Leonid Andreyev and his work The Death of the Cossack Squadron Commander Zinovyev. He made sketches depicting government troops opening fire on a peaceful demonstration on 9 December 1905. During 1905 Repin participated in many protests against bloodshed and tsarist repressions, and tried to convey his impressions of these emotionally and politically charged events in his paintings.

He also did sketches for portraits of Maxim Gorky and Vladimir Stasov and two portraits of Natalia Nordman. In 1907, he resigned from the Academy of Arts, visited Chuguyev and the Crimea, and wrote reminiscences of Vladimir Stasov. In 1908, he publicly denounced capital punishment in Russia. He illustrated Leonid Andreyev's story The Seven Who Were Hanged, and his painting The Cossacks from the Black Sea Coast was exhibited at the Itinerants' Society Exhibition. In 1909, he painted Gogol Burning the Manuscript of the Second Part of Dead Souls, and in 1910, portraits of Pyotr Stolypin, and the children's writer and poet Korney Chukovsky.

War, the Bolshevik Revolution and later years (1917–1930)

File:Repin IE 1914.jpg|Repin in his studio at the Penaty Memorial Estate (1914)

File:Bolchevik 1918 Repine.jpg|Drawing of a Red Army soldier stealing bread from a child (1918)

File:Gopak by Repin.jpg|The Gopak, the last painting of Repin (1926–30), painted on linoleum, because he could not get a canvas large enough

File:Могила художника Репина.jpg|The tomb of Repin at the Penaty Memorial Estate

</gallery>

The outbreak of the First World War in 1914 brought a series of setbacks and tragedies to Repin. His wife became ill with tuberculosis, and departed for treatment in Locarno, Switzerland. She refused assistance from her family and died in Switzerland in 1914. Then, following the October 1917 Bolshevik Revolution, Finland, including Rupin's home, "The Penates" ('Penaty' in Russian), declared its independence from Russia. The border was closed, and Repin refused to return to Russia. He turned to Finland for new clients, painting a large group portrait of notable Finnish leaders and artists, including the architect Eliel Saarinen, the composer Jean Sibelius, and the future Finnish president, Carl Gustav Mannerheim. Repin included the back of his own head in the painting.

In 1916, Repin worked on his book of reminiscences, Far and Near, with the assistance of Korney Chukovsky. He welcomed the early phases of the Russian Revolution, namely the February Revolution of February 1917. However, he was hostile to the Bolsheviks and was appalled by their rise to power in the October Revolution and the violence and terror they unleashed thereafter. In 1919, he donated his collection of works by Russian artists and his own works to the Finnish National Gallery in Helsinki, and in 1920, honorary celebrations of Repin were held by artistic circles in Finland. In 1921–1922, he painted The Ascent of Elijah the Prophet and Christ and Mary Magdalene (The Morning of the Resurrection).

Repin was so hostile to the new Soviet government, that he even lashed out at their spelling reform. Specifically, he objected to writing his last name "Рѣпинъ" (Repin) under the new rules, which made it "Репин", as the elimination of the letter "ѣ" led many people to incorrectly spell his name as Ryopin.

After end of the war in 1918, Repin could travel again. In 1923, Repin held a one-man exhibition in Prague. Celebrations were given in 1924 in Kuokkala to mark Repin's 80th birthday, and an exhibition of his works was held in Moscow. In 1925, a jubilee exhibition of his works was held in the Russian Museum in Leningrad (renamed St Petersburg-Petrograd). The new Soviet leader, Joseph Stalin, sent a delegation of Soviet artists, including a former student of Repin, Isaak Brodsky, to persuade Repin to return to St. Petersburg, and to give up his residence in Finland. But Repin did not want to be under the thumb of Stalin, and refused, though he donated three sketches devoted to the Revolution of 1905 and the portrait of Alexander Kerensky to the Museum of the Revolution of 1905. In 1928–1929, while still in Finland, he continued working on the painting The Hopak Dance (The Zaporozhye Cossacks Dancing), begun in 1926, which was his final work. It portrays Repin's admiration of Ukraine and its culture. Repin painted it with oil on linoleum, because he could not get a canvas large enough.

Repin died in 1930, and was buried at The Penates ('Penaty'). In one of his last letters he wrote: "kind, dear compatriots [...] I ask you to believe in the sense of my devotion and endless regret that I can't move to live in a sweet, joyful Ukraine [...] Loving you from the childhood, Ilya Repin".

In a 2017 VTsIOM poll, Repin ranked third as the most favorite artist of Russians, with 16% of respondents naming him as their favorite, behind Ivan Aivazovsky (27%) and Ivan Shishkin (26%).

Gallery

File:Repin Slavic Composers.jpg|Slavic Composers (1871)

File:Репин. Украинка у плетня.jpg|Ukrainian Woman by Repin (1876)

File:Khata by Repin.jpg|Ukrainian traditional peasant house (1880)

File:E.V.Pavlov by Repin.jpg|The Surgeon Evgeny Vasilyevich Pavlov in the Operating Theater (1888)

File:Ilya Repin - Cesar Cui.jpg|Portrait of Composer César Antonovich Cui (1890)

File:Neapolitan woman (1894) by Ilya Repin - Неаполитанка.jpg|Neapolitan Woman (1894)

File:Илья Репин - Портрет графини Наталии П. Головиной.jpg|Portrait of Countess Natalia Petrovna Golovina (1896)

File:Ilya Repin. The blonde woman (portrait of Tevashova).jpg|The Blonde Woman (1898, portrait of Tevashova)

File:Gogol by Repin.jpg|Gogol burning the manuscript of the second part of "Dead Souls" (1909)

Biography

Early life and work

Moscow and "The Wanderers" (1876–1885)

Repin and Tolstoy

Move to Finland (1890)

Revolution and disillusion (1900–1905)

War, the Bolshevik Revolution and later years (1917–1930)

Gallery

See also

Notes

References

Bibliography

Further reading

External links