Ilya Efimovich Repin famous Russian artist. Ilya Repin

Ilya Efimovich Repin Born on August 5, 1844 in the small Ukrainian city of Chuguev. His father was the retired military, his last settlement and became Ukraine. Ilya early got the first drawing lessons. At first he studied at the local school of military topographers, as well as he studied in private classes from the icon painter I.M. Bunakova. Already at this age, since 1859, Repin wrote icons to order.

In 1863, at the age of 12, Ilya Repin moves into St. Petersburg. The first stage was the School of Society for the Promotion of Artists, where he took lessons from Kramsky I.N. Well, in 1894, Repin enters the Academy of Arts.
The first time was hard, the money was barely enough for food. But the figures at the Repin Academy were very successful. In almost all disciplines, he was first. During this period, Ilya Repin supports relations with Kramsky, who taught his understanding of art. On a row with "software" mandatory work, the Repin begins to draw in byetov genreHe writes portraits of her mother and brother.

I had an impact on the creativity of Repin Russian-Turkish war. Under this impression, he writes "Wires of the recruit". This is not a banal image of battle scenes. Repin approached the problem through the image of peasant life.

Revolutionary events did not leave him indifferent. Many of his acquaintances, including mobile artists, were involved in actions. The painting of Repina "Propagandist's arrest" did not want to be allowed to show. It came to the point that the king himself was notified about this work. But everything went out, the exhibition took place. In continuing the topic, "refusal of confession" appears. Repin wrote her after reading the poem Nikolai Minsk "Last Confession".

The most powerful on its revolutionary focus was the work of that time "did not wait." The picture shows a revolutionary returned home from the link. When she was put on the show, the picture was promoted incredible success, the audience adopted enthusiasm.

Repin worked more consumer in the historic household genre. But critics were honored that the historic genre is completely not his element. The artist, as usual, was not going to retreat. In the following paintings, "Cossacks write a letter to Turkish Sultan", "Tsarena Sofya in Novodevichy Monastery" and "Ivan Grozny and Son His Ivan" paid great attention to small detail, everything was drawn very specifically. But despite the entire historicity of the work, before giving, they appeared as quite real objects. It seemed the impression that the event occurs before your eyes and you are a direct observer.

A lot of time left for the creation of paintings by Repin, several years. Only portraits he painted with a light hand. He also created them not enough. He loved to draw L.N. Tolstoy ("L.N. Tolstoy on vacation in the forest", "L.N. Tolstoy Bosoy"), even caught his bust.
The recent years of the life of Ripin spent on the manor of Pinat on the shore of the Finnish Bay of the village of Kuokkala. Until the last day, the artist did not let the brush from the hands. From the Penate, he continues to track the fate of Russia, participates in the revolutionary protests of 1905. In this period, he gets closer to Gorky A.M. A picture appears "M.Gorky reads his drama" Children of the Sun "in the fenats."

Staying a supporter of a certain style in a letter, Repin still contributes modern notes in their work. This is evidenced by his picture "What Spacious!".

In the period beginning revolutionary motions Repin comes to rethinking his life. These mental throwers are immediately visible in its subsequent work - "self-immolation of Gogol", work dedicated to Pushkin.

Repin wrote: "Two types of geniuses spread in the arts of any era. The first genius is an innovator ... the second genius is the end of the comprehensive direction; the nature is a comprehensive, capable of expressing, in the possible fullness of his art, its time; it is accumulated by a big preparation It is clear. He finishes the era until the impossibility of continuing to work in the same way after it. "

In recent years, Repin creates its very religious picture of Golgotha, in which the artist's tragedy is clearly traced. Ilya Repin has time to work the teacher of the Academy of Arts (Rector) and the leader of his own workshop.

In 1930 on September 29, the artist died, leaving after himself a heritage not only in the form of work, but also the ideology that the Repin carried into the masses.

Ilya Repin

russian painter

short biography

Ilya Efimovich Repin (August 5, 1844, Chuguev, Russian Empire - September 29, 1930, Kooochal, Finland) - Russian painter. Son of the soldier, in his youth worked as an icon painter. He was engaged in a drawing school under the leadership of I. N. Kramsky, continued his studies at the St. Petersburg Academy of Arts.

Since 1878, a member of the partnership of mobile art exhibitions. Academician of the Imperial Academy of Arts. Professor - Head of the Workshop (1894-1907) and Rector (1898-1899) of the Academy of Arts, Teacher Tenisheva School-Workshop; Among his students - B. M. Kustodiev, I. E. Grabar, I. S. Kulikov, F. A. Malavin, A. P. Ostrumova-Lebedeva, N. I. Fein. Direct mentor V. A. Serov.

From the very beginning of his creative pathSince the 1870s, Repin became one of the key figures of Russian realism. The artist managed to solve the task of reflection in the picturesque work of the whole diversity of the surrounding life, in his work he managed to cover all directions of modernity, touched upon topics, exciting public, vividly reacted to the evil of the day. The repincial artistic language was characterized by plasticity, he perceived various stylistic directions from the Spaniards and the Dutch of the XVII century to Alexander Ivanov and modern French impressionists.

The flourishing of Repein's creativity came in the 1880s. He creates a gallery of portraits of contemporaries, works as a historic artist and master household scenes. In the field of historical painting, it was attracted to reveal the emotional expressiveness of the proposed situation. The elements of the artist had modernity, and even creating paintings on the topics of the legendary past, he remained a master of the burning present, reducing the distance between the audience and the heroes of his works. According to art historian V. V. Stasov, Repin's work - "Encyclopedia of the Poreframe Russia". The last 30 years of the life of Repein held in Finland, in his estate Penate in Kookkale. He continued to work, although not so intense as before. In recent years, he turned to biblical plots. In Kuokkale, Repin wrote memoirs, a number of his essays entered the book of memories "distant close."

Origin. Childhood, adolescence, youth

Ilya Efimovich Repin was born in the city of Chuguev, Kharkiv province. His grandfather in the father's line is the unsuitable Cossack Vasily Efimovich Repin - led trade and owned the inn. According to metric books, he died in the 1830s, after which all economic worries lay on the shoulders of his wife Natalia Titovna Repina. Artist's father Efim Vasilyevich (1804-1894) was in the family elder of children. In the memoir essays, dedicated to childhood, Ilya Efimovich mentioned the Father as a "Ticket Soldier", who, together with his brother, traveled annually to the Donette and, overcoming the distance in three hundred Wörst, drove her herds from there. During the service in the Chuguevsky Ulan Region, Efim Vasilyevich managed to participate in three military campaigns, had award. Communication with the hometown, Slobozhanchina and Ukraine Ilya Repin tried to maintain until the end of his life, and the Ukrainian motives occupied an important place in the artist's work.

The grandfather of the artist on the maternal line - Stepan Vasilyevich Bocharov - also for many years gave military service. His wife became Pelagia Minaevna, maiden Familia Which researchers failed to determine. In the early 1830s, the daughter of the Bocharov Tatiana Stepanovna (1811-1880) was married to Efim Vasilyevich. At first, Repini lived under one roof with her husband's parents; Later, making money on trading horses, the head of the family managed to put a spacious house on the shores of Seversky Donets. Tatyana Stepanovna, being a woman competent and active, not only engaged in the formation of children, reading them out loud to Pushkin, Lermontov, Zhukovsky, but also organized a small school, which the peasant guys visited, and adults. There were few school subjects in it: cleaning, arithmetic and God's law. In the family, periodically arose problems with money, and Tatiana Stepanovna sewed for sale fur coats on a hare fur.

Watercolor paints in the repini house first brought the cousin Ilya Efimovich - Trofim Chaplygin. As the artist himself recalled later, his life has changed at the moment when he saw the "revival" of watermelon: black and white picture, placed in a children's alphabet, suddenly gained brightness and juiciness. From this day, the idea of \u200b\u200bthe transformation of the world with the help of the paints no longer left the boy:

To console me, Trofim left my paints to me, and from now on I dug into the colors, sniffing to the table, that I was barely broken for lunch and stumbled, that I completely became wet, like a mouse, from diligence and twisted with my own paints for those days.

In 1855, parents gave eleven-year-old Ilya to study at the school of topographers - this specialty associated with shooting and intensive work was considered a prestigious in Chuguev. However, in two years, the educational institution was abolished, and Repin settled in the icon-painted workshop to the artist I. M. Bunakov. Soon the news of the talented student of Bunakova spread far beyond the limits of Chugueva; The young masters began to invite the contractors who came to the city, who needed painters and gilders. At sixteen, the young man left the workshop, and parental house: He was offered 25 rubles a month for work in the nomadic icon painter, which, as orders, moved from the city to the city.

In the summer of 1863, the arteel workers worked in Voronezh province near Ostrogogsk - the town in which the artist Ivan Kramskaya was born. From local Masters Repin found out that their countryman who had already received a small gold medal For the picture "Moses exudes water from the cliff", seven years ago left his native places and left to study at the Academy of Arts. The stories of Ostrogozhetsev served as an incentive for sharp life changes: in the fall, having collected all the money earned during the summer months, Ilya Efimovich went to St. Petersburg.

First Petersburg period (1863-1871)

Academy of Arts

The first visit to the Academy of Arts disappointed Repin: Conference Secretary of the Academy F. F. Lviv, having familiarized himself with the drawings of the nineteen-year-old young men, said that he did not own a wagon, he could not create strokes and shadows. The failure was upset by Ilya Efimovich, but did not beat his desire to learn. Having removed in five and a half rubles a room in the attic and moving on the regime of hard savings, he settled in the evening drawing school, where he was soon recognized as the best student. Re-visits to the Academy ended with a successful surrender exam, but after the introductory tests of Repin, they again expected complexity: for the right to be present in the classes, the Warm pilot was supposed to pay 25 rubles. The patron sieve is the head of the postal department of the Fedor of the Pantsnikhnikov, to whom Ilya Efimovich appealed for help.

For eight years spent on the walls of the Academy, Repin acquired a lot of friends. They included Vasily Polenov, in the house of which a beginner artist was always prepared by a warm welcome, and Mark Antorthsksky, who arrived in the capital from Wilna to study on the sculptor and later writing: "We soon got close to how only lonely people in a foreign person can get closer. In 1869, Repein was acquainted with artistic criticism Vladimir Stasov, for many years, which included Repin's "Middle Circle". He considered Kramsky's immediate mentor: Repin was his man in the artist created by Ivan Nikolayevich, showed him his student sketches, listened to the advice. After the death of Kramsky Repin, he wrote memories in which the artist called his teacher.

I. E. Repin. Resurrection of IAIR daughter. 1871.

The years of study brought Ripin a few awards, including a silver medal for a sketch "The Angel of Death beat all the first born Egyptians" (1865), a small gold medal for the work of "Jobs and his brothers" (1869) and a large gold medal for the painting "Resurrection of the IAIR daughter" ( 1871). Years later, recalling the story of the "Resurrection ...", Repin told the artists in the circle that the preparation for her writing was complicated by the lack of money. Desperate, the pupil of the Academy created a genre picture on how a student preparing for exams is watching a girl from the next apartment. Ilya Efimovich took his work in the shop Tenty, gave to the commission and was surprised when he soon was given a considerable amount: "I seemed to have such happiness, I did not feel in my entire life!". The money received was enough to paint and canvas, but their acquisition did not get rid of creative flour: the plot of the "daughter of Jair" did not make shape. In one of the evenings, returning from Kramsky, Repin tried to imagine how his loved ones would respond, if a person, the "exhaustive gift of the healer," managed to return the life of the mouth - his early sister. As a result, the evangelical plot given by the academic program was embodied in " live picture Life ":

The interior shadiness in the depth and on the right creates the atmosphere of silence, grief and causes a sense of waiting ... Here we have the beginning of that lyrical theme Sleep and awakening, which attracted Repin throughout his creative path.

"Barge Haulers on the Volga"

The plot of the first of the substantial paintings of the Repin was suggested by life. In 1868, working on Etudah, Ilya Efimovich saw Burlakov on the Neva. The contrast between the idle, carefree publishers walking on the shore, and the people pulling the rafts, so impressed the student of the Academy that, on returning to a removable apartment, he began to create sketches with the image of the "hard strength". Fully plunge into new job He did not give academic obligations associated with the competition for a small gold medal, however, according to the artist, nor during games with comrades in the towns, nor during communication with familiar ladies, he could not free himself from the concerning plan.

In the summer of 1870, Repin, together with his brother and painters, Fedor Vasilyev and Evgenia Makarov went to the Volga. Money for the trip is two hundred rubles - received from the rich patrons of Vasilyev. As wrote later Repin, the journey was not limited to contemplation of the landscapes "with the albums" in his hands: young people got acquainted with local residentsSometimes spent the night in strangers, sat in the evenings by the fire. Volzhie spaces hit young artists with an epic scope; The mood of the future canvases created the "Camarinskaya" Glinka who was constantly sounding in the memory of Ilya and Tomik Homerovskaya "Iliad" with him. In one day, the artist saw the "perfect type of desired burlack" - a man on the name Kanin (in the picture he was depicted in the first three, "with head tied with a dirty rag").

I. E. Repin. "Barge Haulers on the Volga". 1870-1873.

What happiness, that the canine did not like to go to the bath or trimmed, as it happened to some models that came tried, smashed beyond recognition. He was notified in advance and, like all serious people, posing seriously: skillfully endured an unusual position and easily adapted, without interference to me.

- Ilya Repin

According to the German historian of the art of Norbert Wolf, the painting "Burlaci on the Volga" made a sensation in the international art community, because its author "monumentalized the genre scene," lower "in the academic classification." Each of the heroes of the canvas carries the printing of individuality; At the same time, the whole group of characters placed in the "existential and primordial" landscape reminds the procession of Dante Cursed from the Divine Comedy.

Order "Slavic Bazaar"

By 1871, Repin had already gained some fame in the capital. On the exam, he received the first gold medal for the painting "Resurrection of the daughter of Jair", the title of the artist of the first degree and the right to a six-year-old trip abroad. The rumor about the talented graduate of the Academy reached Moscow: the owner of the hotel "Slavic Bazaar" Alexander Porokhovshchikov offered Ilya Efimovich to write a picture "Meeting of Russians, Polish and Czech composers", promising 1500 rubles for work. In the hall of the hotel restaurant at that time, portraits of many cultural figures were already posted; Little enough of the "big decorative spot". The artist Konstantin Makovsky, who previously addressed the porchovers, believed that this money would not pay off all labor costs, and asked 25,000 rubles. But for Repin, the order of the Moscow entrepreneur became a chance to finally get out of many years of need; In his memoirs, he admitted that the amount appointed for the picture seemed huge. "

To work together with Repin, he turned on and Stasov, who, well-dealing in music, collected materials in the public library and gave professional advice. Nikolai Rubinstein, Eduard direction, Miliya Balakirev and Nikolai Roman-Korsakov posted for the painting; Images of the rest of the composers, including those who have left lived, the Repin created on the basis of engravings and photographs found by Stasov.

In June 1872, the discovery took place Slavic Bazaar." The picture presented by the public received many compliments, and its author is a lot of praise and congratulations. Among those who remained dissatisfied, Ivan Turgenev was: he told Repin that he could not "reconcile with the idea of \u200b\u200bthis picture"; Later, in a letter, Stasova, the writer called the rope of Repin, "Cold Vinegret of Living and Dead - stretched by Chushy, who could be born in the head of some Kleblokhov-Porokhovshchikov."

First family

Wife Vera Alekseevna

I. E. Repin. " Relaxation. Portrait V. A. Repina, artist's wife" 1882.

Chukovsky's roots, friendly with Repin, believed that the first family of the artist "on his non-ultimate showed little interest in his work." Faith Shevtsov, Sister of his comrade for the drawing school Alexandra, Ilya Efimovich knew from children's years: in the house of their father, Academician architecture Alexei Ivanovich Shevtsov, often gathered young people. Over time, faith and Ilya began to communicate more often. Art historian Alexander Pastunova, telling about the portrait of the young bride Repin, written in 1869, noted that the girl looks at the artist as if waiting for an invitation to dance:

She was good at sixteen years old: Smolyan heavy braid below the belt, light-brown eyes, children's cheek over a round forehead, straight nose, curved up the corners of the lips, the ability to be slender in a soft green chair.

Ilya Efimovich and Vera Alekseevna married 11 (23) of February 1872. Instead of wedding travel, Repin offered young wife business trips - first to Moscow, to the opening of the Slavic Bazaar, and then on Etudes in Nizhny NovgorodWhere the artist continued to look for motifs and the type for "Burlakov ...". In the late autumn of the same 1872, a daughter, which was also called faith, appeared. In the christenings, the girls were attended by Stasov and Composer Modest Mussorgsky, who "improvised, sang and played."

The first marriage of Repin lasted fifteen years. Over the years, Vera Alekseevna gave birth to four children: besides the eldest, faith, the Nadezhda, Yuri and Tatyana grew in the family. The marriage, according to the researchers, it was difficult to call happy: Ilya Efimovich himself to the open house, was ready to take guests at any time; He was constantly surrounded by ladies who wanted to populate for new paintings; Vera Alekseevna, focused on the upbringing of children, the cabin lifestyle was in a burden. The rupture of relations occurred in 1887; When divorced, former spouses shared children: the elders remained at the Father, the younger switched to live to the mother. The family drama was so seriously influenced by the artist that Stasov wrote a brand of Antortho on his concern for his peace of mind:

Repin silent something with his exhibition, and in the summer and autumn he rumored about her ... What kind of peace, what a joy, what the opportunity to write my paintings? How can I cook the exhibition when ... all troubles, stories, which is misfortune?

Family portraits. Fate children

I. E. Repin. "Autumn Bouquet". 1892.

As in the years of marriage, and after leaving the family, Repin wrote many portraits of his loved ones. So, Ilya Efimovich created several portraits of Faith Alekseevna, including the painting "rest" (1882), in which "not very attractive, rather unkind", according to Artist Alexei Fyodorova-Davydov, the face of the fascinated woman softens the "charming lyrics" of the artist .

Repin performed as a "subtle, sincere lyrics" and when writing portraits of children. First of all, it concerns the two of its paintings - "Dragonfly" (1884) and "Autumn Bouquet" (1892). The heroines of both work is the eldest daughter of Repini - Vera Ilyinichna. On the first of them twelve-year-old girlLighted by the sun sits on the crossbar. Art historians suggest that the artist created a portrait of a memory daughter; Evidence of this is some mismatch of the background and figures. But the "Autumn Bouquet", over which the artist worked in the estate, he was written from nature. Faith has already turned into a lady, the autumn bouquet in the hands of which was designed to emphasize her "sense of life, youth and bald". There was also a portrait of a daughter Nadi; The artist himself told about him: "She is in a hunting dress, with a gun over his shoulder and with a heroic expression."

The fate of the Repin children developed in different ways. Vera Ilyinichna, served for some time in the Alexandrinsky Theater, moved to the Father into the Penates. Later she moved to Helsinki, where she died in 1948. Nadezhda, who was younger than Faith for two years, graduated from Christmas female medicine courses in St. Petersburg, then worked in Zemstvo hospitals. After a trip to the zone of the Tifa epidemic in 1911, a young woman began to suffer sincere disease. Living with his father in Kuokkal, Nadezhda Ilinichna almost did not leave her room. She went away in 1931. Yuri Ilyich (1877-1954) went in the footsteps of his father and became an artist. The tragedy of his life was the story of the missing son Diya. After declassifying the archives, it turned out that in 1935 he was arrested when crossing the border with the USSR and was sentenced to the Tribunal of the Leningrad Military District to the Execution on the basis of Articles 58-8 and 84 of the Criminal Code of the RSFSR. The younger daughter of Repina Tatiana at the end of Bestuzhevsky courses taught in a health school; After the death of his father, she went to France with her family; Died in 1957.

Pensioner ride abroad (1873-1876). "Sadko"

In April 1873, when the eldest daughter grew a bit, the Rubin family, which had the right to a foreign trip as a pensioner of the Academy, went to the voyage in Europe. By visiting Vienna, Venice, Florence, Rome and Naples, the artist removed the apartment and the workshop in Paris. In the letters of Stasov, he complained that the capital of Italy disappointed him ( "Gallery set, but ... I don't have enough torture to good things"), and Rafael seemed "boring and obsolete". Excerpts from these letters were made public; The magazine "Entertainment" (March 1875) responded on them a poisonous caricature, on which Stasov "helped Repin to hatch out of the nest." The drawing was accompanied by a poem: "... Is it not true, my reader, / what for judges such as Stasov, / and turnip is better than pineapple?".

I. E. Repin. Sadko. 1876.

The addictiveness of Paris went slowly, but by the end of the trip the artist began to recognize French impressionists, separately allocating Manet, under whose influence, as researchers believe, a picture of the Paris Cafe was created, testifying to mastering captions of plenary painting. Nevertheless, according to the artist Yakov, Minchenkova, the new forms until the end of the life "put it in a dead end, and the landscape officers-impressionists led to irritation." Those, in turn, reproached Ilya Efimovich in the "Bad of Beauty". A kind of response to their claims was written by Repin in Paris a picture "Sadko", the hero of which "feels in a certain underwater kingdom." Its creation was complicated by the fact that in search of the customer and the money went too long; Interest in the invented plot gradually melted, and in one of the letters Stasov, the annoyed artist admitted that "the picture" Sadko "was terribly disappointed.

In 1876, the Rampin received the title of Academician for the Picture of Sadko. However, this did not save the artist from criticism: So, art historian Andrei Prakhov wrote in the review published in the art journal "Bee":

Allow, yes, is it not the most repinne that wrote "burlakov"? What should he do now, if he was still perfected by the student? I penetrate trepidate and go ... "Ah, look, Maman, a man in aquarium!" ... I wish him happily wake up ...

Moscow period (1877-1882)

Introduction to the Movie Partnership

Returning to Russia, Repin during the year - from October 1876 to September 1877 - lived and worked in his native Chuguev. All these months he was a correspondence with Polenov, offering this to settle in Moscow. Moving turned out to be difficult: Ilya Efimovich, as he himself reported Stasov, with himself "big stock of artistic goodness", which was long stood with unassembed due to the swollen Repin malaria. After recovery, the artist told Kramsky, which decided to join the mobile partnership. Kramskaya, being one of the main inspirationors of this creative association, took the initiative with enthusiasm:

Do you know what good word you wrote: "I am yours." This word is poured into my exhausted heart vigor and hope. Forward!

According to the rules, the reception in the partnership was carried out after passing by the candidates of the "Exhibitorship", but for the sake of Repin, an exception was made: he was taken, neglected by formalities, in February 1878.

"Tsarevna Sophia"

I. E. Repin. "Tsarevna Sophia". 1879.

One of the first pictures, to whose writing Repin began after moving to Moscow, was "Tsarevna Sophia" (a full author's name - "Government of Tsarevna Sophia Alekseevna a year after concluding it in the Novodevichy Monastery during the execution of Sagittarov and torture of all its servants of 1698" ). Researchers believe that for a deeper immersion in the subject, the artist even the apartment chose himself taking into account the distance from the monastery: first lived in a warm alley, then in a large pipe alley.

The work continued for more than a year; Ilya Efimovich spent a lot of time outside the workshop, studying historical documents and materials that Stasov picked up in St. Petersburg. For a detailed acquaintance with accessories, the artist visited museums and costume workshops of theaters, making there many sketches. Valentina Serov Valentina Semenovna, wife of the composer Paul Blameberg Elena Aprelev and a certain portmill posed for Sophia Repin. The wife of Repin Vera Alekseevna is self-seized dress on sketches brought from the weapon chamber. According to art historian V. N. Moskvinov, "From the technical side" of Tsarevna Sophia "performed by masterfully":

The figure of the princess and silver brocade of her dress, and twilight of the close and stuffy celi, and the perfectly transmitted struggle of warm lamp light with a cold smoky light, flowing from a narrow window, and the figure of frightened obedience in depth ...

Despite the volume of work done, the new Repin picture shown on mobile exhibition In 1879, the delight of the artist's friends did not cause. The same Stasov, who had invested a lot of strength to her creation, wrote that for the image of Sofia, Ilya Efimovich "did not find the necessary elements", and therefore he was "forced to compose a" pose ". Mussorgsky was disappointed, who admitted that he saw on the canvas "Babu is not a thick-witted, but all the visible to the point that, with its huge magnitude (in the picture), the audience had little space." It is hardly the only one of the loved ones who supported Repin, turned out to be Kramskaya, who called "Sophia" a historical picture.

Pupil Valentin Serov

In Moscow, a young Valentin Serov jokes to the number of Dropina households. The artist first saw him in 1871, when after the death of Alexander Serov came to the house of the composer to support the widow and the six-year-old son. Later, fate brought them in Paris: Valentin, together with his mother-musician, lived on a clichi boulevard and almost daily came to the workshop of Ilya Efimovich.

V. A. Serov. "Portrait of the artist I. E. Repin." 1892.

When Valentina turned fifteen years old, his mother Valentina Semenovna asked Repin to take a young man in his family. In the house of the artist, he felt free: Serov did not allocate among other children, if necessary, he was included in his home care, he spent in the workshop for many hours. Repin mounted eye determined that Valentine has a diligence, and artistic taste:

During the day, in the hours of leisure, he (serov) rewrite all kinds of windows of my apartment: kindergartens with birks and fruit trees, making up to houses; Everything with the greatest love and incredible abatinity rewritten the boy of the sulfur, bringing his little canvas with oil paints to full charm.

The student has matured for further growth, Repin understood during summer sketches in the village near Abramsev. Working with Valentin near the monastery, Ilya Efimovich drew attention to the image of the hunchback made by young sulfur (later this type was used for the painting " Procession in Kursk province "). The drawing, made "with the brilliance of an experienced master, was evidenced by the fact that Serov is ready for admission to the Academy of Arts. Soon Valentin went to St. Petersburg and became the fulfillment of this school. Repin personally had troubled that the young man was enrolled on the course of Professor Pavel Chistyakov, who appreciated not only as masters of painting, but as a thin, smart teacher.

Portrait of Turgenev

I. E. Repin. "Portrait of I. S. Turgenev." 1874.

The work on the portrait of Turgenev was so heavy that researchers called it "the flow of flour." The acquaintance of the writer and the artist happened in St. Petersburg; Later they met in Paris. Order Pavel Tretyakov on writing portrait Ivan Sergeevich Repin perceived with inspiration. The first session was successful, but the next day the messenger brought a note that the option was rejected by Polina Viardo. This assessment was enough for inspiration to go; Remembering for further work, the Repin crushed: "Oh, my stupidity, I drove my successfully grated my heads down and started from another turn ... Alas, the portrait came out dry and boring."

Tretyakov, who received a portrait of Turgenev in his collection, did not hide displeasure. The picture depicting Ivan Sergeyevich left him to the gallery of Kuzma Soldatyankov, from him came to Savva Mamontov, then in the Rumyantsev Museum and in the 1920s returned to the Tretyakov Gallery.

In January 1879, when Turgenev came to Moscow, Tretyakov, and did not leave the dream good portrait The writer, organized at home at home Ilya Efimovich and Ivan Sergeevich. Sessions resumed, and by spring the picture was ready. However, its demonstration at the 7th exhibition of the heads did not bring anything to the artist, except for negative emotions: the reviewers saw on the head of the writer "whipped soap", and the created image was compared with the "some old Seldon". Stasov, recognizing that the second attempt was also unsuccessful, noted:

Repin has suffered in this case the total fate: whoever wrote the portrait of Turgenev, everyone failed, no painting to our face and the figure of the famous Russian writer.

"The congestion in the Kursk province"

The coloristic value of the "transpar" arises due to the fact that the gamma is given to the natural in the conditions of the midday summer hours General, as if silver tone. It gives rise to whitish painting as if burned out from the heat of the sky, saturated with dust fascinated air and dominant in the painting of the spots of brownish-gray peasant clothes.

- I. I. Pikulev

Three years left the Repin to create a painting "Procession in the Kursk province", which the original artist called the "miraculous icon." For collecting materials, he traveled to Kursk province, Kiev and Chernigov. The deadline for the end of the work time was postponed at times: so, in August 1881, Ilya Efimovich wrote Stasov that in winter she intends to "end" the procession "," but later reported that before completion was far away.

"The procession ..." is a "multifigure, choral composition", based on the pressure, power, power, chaoticism. In a human stream, at least seventy figures with "clear characteristics" are distinguished; Of the many persons and moods make up a "holistic picture people's Life»1880s. Social types are indicated not only in those characters that are on foreground (Gorbun and Baryn), but also in the "secondary" images - such as the representative of the authorities swallowing with Nagayka to the violator of the order.

"The procession ...", like most of the previous works of Repin, caused an ambiguous reaction. If Igor Grabar believed that this picture "finally established the reputation of the first artist of Russia," the St. Petersburg newspaper "New Time" saw in it "not an impartial image of Russian reality, but only the exposure of the artist's views on life."

Repin and Tolstoy

The initiator of the dating Lion Tolstoy and Repin was Stasov, who since the 1870s tirelessly tirelessly told the writer about the appearance in the Russian art of the "new shine". Their meeting occurred in October 1880, when in the house of Baroness Simolin (Big Pipe Alley, No. 9), where the Repin lived, Lion Nikolayevich suddenly appeared. The artist wrote in detail the Stasov in detail, noting that the writer "The portrait of Kramsky is very similar":

I was so stunned by his visit to the unexpected and as unexpected departure (although he stayed for about two hours, but it seemed no more than a quarter of an hour) that I had forgotten to even ask, where he stopped, whether he was long here, where it goes ... Write me Please, his address where you can find.

The acquaintance was continued in a year when Lev Nikolaevich, arriving in Moscow, stopped at Volkonsky. As the artist subsequently recalled, after ending the work, he was often sent to meetings with Tolstoy, trying to coincide with the time of his evening walks. The writer could without tired to overcome long distances; Sometimes the interlocutors, lunating the conversation, "climbed so far" that they had to hire an equestrian carriage. In 1882, Tolstoy participated in the Moscow census. He got a plot in the district of the Smolensk market, which included the so-called "Rzhan Fortress", populated by the urban poor. According to the researchers, Repin could accompany the writer during these bypass; This is confirmed by the drawings "Street Scene", "L. N. Tolstoy and counters on the census "and some others.

I. E. Repin. "Plowman. Lion thick on arable land. " 1887.

During the twenty-year-old acquaintance with Lvom Nikolaevich Repin, who was in his Moscow apartment, and in Casual Polyana, created several portraits of Tolstoy (the most famous - "L. N. Tolstoy at the desk" (1887), "L. N. Tolstoy in a chair with a book in the hands" (1887), "L. N. Tolstoy in the Yasnocation Cabinet under vaults "(1891)), as well as dozens of sketches and sketches; Many of them remained in scattered albums. Picture "L. N. Tolstoy on arable land, "as the artist himself recalled, appeared on the day when Lev Nikolaevich volunteered to plow the field of one widow. Repin, who was on that day in a clear glade, "received permission to be accompanied." Tolstoy worked without rest for six hours; Ilya Efimovich with the album in his hands fixed the movement and "checked the contours and the relationship of the values \u200b\u200bof the figures."

In the September issue of the publication "News and Exchange Gazeta" for 1887, an article of Stasova appeared that the Tolstoy depicted by the Repin, reminds him of tanned burlakov: "The same expression of strength, loyalty to their work, is the same impossible national Type and warehouse. " Special attention to the critic was given to horses - in his opinion, each of them possesses its own character: one meekly "corrects his service," the other demonstrates liveliness and inconsistency.

Portrait of Mussorgsky

I. E. Repin. "Portrait of a composer M. P. Mussorgsky." 1881.

With Mussorgsky Repin over the years they have connected particularly warm relations. The composer tried not to miss the exhibitions Ilya Efimovich; He, in turn, visited his premieres musical works. As the composer Boris Asafiev recalled, sometimes he was accompanied by the work of Repin game on the piano - the artist loved to listen to Hovhanchina. In the spring of 1881, Stasov told Repin from St. Petersburg that Modest Petrovich is located in the Nikolaev military hospital in the extreme heavy condition: "As a sorry, this ingenious power is so stupid with itself physically".

The artist immediately drove into the capital to visit the sick comrade. In the hospital chamber, Repin for four days - from March 2 to March 5 - wrote a portrait of Mussorgsky. Easel for a trip to Petersburg Ilya Efimovich did not take, so the work was carried out near the table, followed by the composer. According to the researchers, the artist did not try to hide " human weaknesses"Composer, but even in a hospital attire, with a close look, Mussorgsky looks like a man" beautiful and spiritually great. " On the audience, the portrait of the composer who died a few days after the repin visit, produced big impression. According to Kramsky, the artist used in the work "some unheard of techniques, the opposition to anyone is not tested - he" I "and no one else":

Look at these eyes: they look like alive, they thought, they painted all the inner, mental work for that minute, - and a lot of portraits in the world with a similar expression!

Repin and Tretyakov

With the patrons and the founder of the Tretyakov Gallery Pavel Tretyakov Repin met even during work on the "burlates". In 1872, having heard about interesting material, brought by a graduate of the Academy of Arts from the Volga, Tretyakov arrived in the St. Petersburg workshop of Ilya Efimovich and, introducing himself for a long time and focusedly studied the etude woven along the walls. His attention was attracted by two works - portraits of the guard and the seller; The entrepreneur appointed by the Rimin price was halved and left, promising to send the messenger for etudes.

In Moscow, business relations, which established between the Repin and Tretyakov, gradually turned into friendly. The patronage was at home in Ilya Efimovich; If it is impossible to meet, they exchanged letters or short notes: "If you find a free chalk, wrap me to see the portrait of Aksakov. Repin "," I would be grateful to you if today you visited me. Tretyakov. " Mutual sympathy did not interfere with them to half aimize on various issues. Thus, Tretyakov believed that on the canvas "the procession" a funny boss, carrying kid, should be replaced by a pretty young lady. Pavle Mikhailovich caused Pavl Mikhailovich from Pavel Mikhailovich; Repin in response explained that he could not agree with the opinion that the image of Tolstoy during the work on arable land was akin to advertising.

I. E. Repin. Portrait of Pavel Tretyakov. 1901.

Sometimes Tretyakov suggested the artist ideas for future works; So, it was he who suggested Ilya Efimovich to write a portrait of a seriously ill and lived by the chief of the writer Alexey Pisemsky - in the end, the gallery has replenished "from a series of outgoing artistic work." At the same time, the Tretyakov recommendation to choose as a "model" of criticism and publisher Mikhail Katkova The artist rejected categorically; In a letter, Pavel Mikhailovich, he vigorously explained that it was necessary to put "Portrait of Retrograd" in one row with Tolstoy, Nekrasov, Dostoevsky and throw a shadow on "Activities of such a precious museum."

The Repin for a long time she put out the dream to write the portrait of the Tretyakov himself, however, the pheetzenate flatly refused to pose. Nevertheless, in the winter of 1882, the joint work began; She continued until the departure of Ilya Efimovich from Moscow and was completed already in St. Petersburg. Knowing that Native Pavel Mikhailovich had comments to his portrait, Repin, after the death of the patron, created a second version of the picture. Arriving in December 1898 on the funeral Tretyakov, Ilya Efimovich wrote:

There was an oak mighty, waving oak, under the branches of his wide, how many good Russian artists lived and glory ... But how the temporary custody will come, a little thing, then they will understand the era who left in the distance and the art and collector will be survived.

Second Petersburg period (1882-1900)

On the eve of moving to the capital, Repin confessed in one of the letters that Moscow begins to tire him. The coming suggestion with the persistent persuasion of Stasov and Kramsky led to the fact that in the autumn of 1882, the 38-year-old artist returned to the city of his youth. With you, he brought a considerable luggage, the basis of which was an outline to the work began - "Cossacks", "Propagandist's arrest", "Refusal of confession", "Ivan Grozny", as well as hundreds of drawings and etudes on a variety of topics.

"Ivan Grozny and Son His Ivan on November 16, 1581"

The birth of a historical canvase created by "based on" of one of the stories of the "history of the Russian state" was preceded by a visit to the Rimsky-Korsakov Rimsky concert. As the artist himself wrote later, "his musical trilogy - love, power and revenge" seemed so impressive that she wanted and "in painting, to portray something like the strength of his music."

I. E. Repin. "Ivan the Terrible and Son of His Ivan on November 16, 1581." 1885.

The work began with the choice of nature. Repin searched for the necessary faces everywhere - peered in passersby on the streets, turned to familiar. The image of Ivan the Terrible, according to Ilya Efimovich, in something coincided with the painter's type of painter Grigory Myasedov, who, along with random personMeeting on the market agreed to pose for a new picture. Several people became the protrases of Tsarevich, including the landscape of Vladimir Menk and the writer Vsevolod Garin. Responding to questions about why when writing Tsarevich's profile, the choice fell on Vsevolod Mikhailovich, Repin noted:

In the face of Garshiny I was struck by the doomes: he had a person who was doomed to die. It was what I need for my Tsarevich.

The picture was completed in 1885 and is shown at the 13th Mobile Exhibition. The interpretation of the historical plot caused Alexander III discontent: the emperor "Highestly command deigns the picture of Repin" Ivan Grozny and Son His Ivan "Do not allow exhibitions to exhibitions and do not allow her public dissemination at all." In defense of the canvas, many cultural figures were made; Thanks to their troubles, as well as the efforts of the artist Alexei Bogolyubova, the ban was removed.

"Did not wait"

The history of the works "did not expect", over which Repin worked in 1883-1888, began with a small picture. It was depicted a young ride appearing in the room after a long abolition. Later, developing the topic, the artist replaced the heroine man - the "prodigal son", which, entering the house, is suspended and looks at elderly woman - His mother.

I. E. Repin. "Did not wait." 1888.

The plot was originally built only on psychological characteristics"Characters, however, in the first embodiments," not trusting themselves, "Ilya Efimovich included two more characters in the action -" some old man "and the father of the hero. Later, realizing that the reaction of the mother, his wife, children and standing in the door of the maid was reproduced exactly, Repin decided to do without additional "clarifying figures."

The interior for the painting was one of the villages of the country house in the village of Martyskino near St. Petersburg, where the Repin family lived in the summer of 1883. The house was crowded, so the relatives and guests, including the artist and the daughter of Brother Stasov, were posing for "not waiting". According to the biographer Repin Sofia, the prophet, the artist did not succeed for a long time to fix the expression of a person who happens in close people at the time of the sudden and long-awaited meeting, so the head of the hero artist rewritten repeatedly. Even when the picture has replenished the gallery collection, Ilya Efimovich secretly from Pavel Tretyakov passed through the hall and worked until he had achieved that emotional movement, which was looking for a long time, - the instant "transition from joy to amazement."

Repin and Garshin

I. E. Repin. Portrait of Garshin. 1884.

The acquaintance of Repin and Vsevolod Garshin happened in the hall of Pavlova on the Trinity Street, where the writer came accompanied by students and cursors. As the artist confessed later, the desire to write a portrait of the writer arose with him already at the first meeting - Ilya Efimovich was struck by "Garshin's eyes, full of serious shame." The sessions were held in the repin workshop, and the appearance of Vsevolod Mikhailovich was surprised every time the artist: he entered silently, radiating "quiet delight, as if infrequent angel." Garshin also responded about the artist with sympathy. In a letter to his comrade V. M. Latkina, he told that Ilya Efimovich, with all his "visible softness and even tenderness," a person with a strong character. The letter has completed a message that the work on the portrait is nearing completion.

The portrait of Garshin, acquired by the industrialist and collector Ivan Tereshchenko, was presented at the 15th mobile exhibition in St. Petersburg (1887) and caused the ambiguous reaction of the reviewers: some believed that "Repin wrote Garshin's crazy", others claimed that he had not seen "more beautifully his eyes and light chela. " In the middle of the 20th century, Soviet art historians considered this work lost: so, Ilya Zilberstein wrote that the tracks of the picture were lost in Kiev in the early 1920s. Nevertheless, Garshin's portrait did not disappear: he is currently in the USA in the Metropolitan Museum.

"Cossacks write a letter to Turkish Sultan"

The first sketch of Zaporozhtsev appeared in 1878 in Abramtsev. Ripening plan was separated from the finished picture, represented by the world at the repin personal exhibition (1891), twelve years of work. According to the memoirs of the older daughter of the artist of faith Ilinichny, for a long time the whole family lived only by Zaporozhye: Ilya Efimovich read the poems and stories about the sash, the children knew all the heroes, played the Taras Bugbu, Ostare and Andria, sculpted their figures from clay and could Any time quoting a piece of text from the letter of Cossacks Sultan.

I. E. Repin. "Cossacks write a letter turkish Sultane" 1891.

In the summer of 1880, Repin, together with Valentin Sumov, left in Malorossia; After eight years he made a second journey with Son Yuri. Working on Etudes, the artist drew everything that can come in handy for the canvas: horses, utensils, costumes, weapons. The artist called its state of obsession, and the future characters of the painting - the "funny people".

The features of Zaporozhtsev Ilya Efimovich found out in all familiar. As the writer Mamin-Sibiryak recalled, going to the workshop to Repin, he was forced for a few hours to pose for the "Cossacks": the artist attracted his eyelid for one of the heroes and eyes for another. To create an image of the writer, the repin was invited by the historian Dmitry Yavornitsky, Ataman Serko agreed to embody General Dragomirov. Executions of other characters became Efimovich's countryman Efimovich - Musicologist Alexander Rubetov (laid Cossack), Collector Vasily Tarnowsky (man in the header), artist Kuznetsov, son of Barbara Ikskul-Guildenbandt (young smiling Zaporozhets) and others.

Repin and "World of Art"

Rapid of Repin with the Union of Art of Art happened after exploring Alexander Benoit. In 1894-1895, artists went to visit each other, discussed plans to create a new painting unification. In November 1898, answering the question whether decadentism dies, Repin noted that there is no:

Any new direction in art has in its essence something eternal and its own best works Refreshing the art of refreshing motifs in the scope. All kinds of art have their fans, their consumers. The struggle against them, in my opinion, is not legal and useless.<…> Decadentity, in my opinion, is still only in its infancy, at least in our country, in Russia, and it is impossible not to wish it to develop.

Then Ilya Efimovich turned on the exhibition project Benois and Dyagilev - on January 18, 1899, the first international exhibition of the magazine "The World of Art" opened, where the works of Repin were also exhibited among 350 works of artists from France, England, Germany, Finland and Russia. In early January, Repin agreed to enter the editorial board of the magazine. This cooperation seemed promising: Ilya Efimovich conquered the "combat burdens" of Dyagileev; He, in turn, understood how promoting the authority of his publication would increase if the editorial list would appear the name of Repin. The journal collaborated students of Repin V. A. Serov, I. E. Grabar, A. P. Ostrumova-Lebedev. ABOUT International Exhibition, organized by the "world of art", Repin responded enthusiastically ("There are things interesting things with their artisticity, and there is their arrogance!").

However, in mid-January 1899, the mood of the artist has changed. The ideological platform of the "World WORD" meant confrontation between the Academy of Arts and Sulling Movement. Epitts "School of Beforenment" and "Creeping Empirism" in the address of academicists alternated with the charges of late Movies in the displacement tendency ("Direction" - "Poleukha Apollo", according to A. N. Benua), in the grinding of the vehicle-beetters of the 1890s G. Myasedov, Vl. Makovsky, N. Bogdanov-Belsky, fake on the population and portrayed only "Lapty and rags".

P. E. Scherbov. The joy is immeasurable. (V. V. Stasov, I. E. Repin, M. V. Nesterov, S. P. Dyagilev and others) "Jester" (1900, No. 4)

It became known that the Repin sent a letter to the Dyagilev, in which he refused to cooperate with the Mir of Art. Stasov, with whom Repin quarreled for about six years ago, was, according to his own recognition, very happy to break the decades. Accidentally having met with the philosopher, editor of the literary department of the "World of Art", Stasov insisted on the publication of the repin's letter on the magazine pages. It took several months, but the letter never was published. Apparently, Repin gave to understand Dyagilev, which still will make it a letter to his letter, and then, on March 22, Dyagilev met with the artist to discuss this issue. Attempting to pay off the conflict failed: In April 1899, in the 15th issue of "Niva", the message of Repin "at the address" of the world of art ", dated March 30th, was published. The reason for the final breaking of the relationship was a note in the Art Chronicle heading ("The World of Art", 1899, No. 8), the anonymous author of which was very vividly withdrawn about representatives of the academic school of painting and offered to withdraw part of their webs from the Alexander III Museum. Such disregard was outraged by Repin; He defended his colleagues Vladimir Makovsky, Grigory Myasedov and others:

All who are close to the interests of art, surprised by the claim on the role that this art magazine wants to play. He refers to the Academy of Arts. Having added its activities, the Alexander III museum he prescribes as subordinate to remove from the hall that the editors do not like. The tastes of the Russian public he takes under his custody ...

Repin defended from the attacks of Miriskussnikov not only by the mobileians, but also by the artists-academicists K. D. Flavitsky, I. K. Aivazovsky, F. A. Moller, assessing the direction of the "world of art" as a whole as a decadent. In the heat of the controversy, he collapsed with Critica Roden, Axel Gallen-Callel, Claude Monet, calling them the fighters for ignorance and opposing them to all the work of the Polish "Colossus" - the artist-academician Yana Mateyo, whose importance challenged in the "World of Art", Igor Grabar .

Repin announced that he stops cooperation with the magazine. Dyagilev responded to No. 10 of the "World of Art", reprinting his letter in his article "Letter at I. Repin". He used the recent statements of the artist (including the Repein article "In defense of the New Academy of Arts" in the October issue of the books of the week of 1897) to point out their contradictory views in matters of art.

Stasov, who consistently fought with the "decades", dedicated to the "return" of Repin, the article "Miracle Wonderful" ("News and Exchange Gazette" No. 15), where he expressed joy about the "resurrection" of the artist and, not embarrassed in expressions, attacked "Miriskusenikov " The article caused dissatisfaction with Repin, in a letter to L. I. Shestakova, he recognized that if not if Stasova's disease, he would again quarreled with him. As noted in his monograph "Repin" I. Grabar, the views of Repin on art had with the views of Stasov " indigenous difference"And subsequently both tried to avoid direct clashes:" both do not negotiate something, something is softened and the facility has finally advanced relationships. " Already in the fall of 1899, Stasov wrote an antorthska about the reaction of Repin on the content of the Decadent Journal, which came to his hands in the house of criticism:

... He [Repin] exclaimed with an extract: "What a magazine. How perfectly! How everything is here new, freshly talented and original. " What else do all his renunciation mean (printed) from decpendents and decadents? All lies and pretense or complete reduction and unconsciousness?\u003e

The inconsistency of the judgments of Repin on art was celebrated by many contemporaries. A. Ostroumova-Lebedev, first admitted to him, "As before some kind of deity," later disappointed in Repin and "learned to separate a brilliant artist from man in him." V. Serov was very wounded the careless words of Repin. V. Perepphoters wrote in their diary: "This is a folding soul, it may be for the form of a form." Nevertheless, A. Benua liked the variability of Repin, in his opinion, she showed that despite his age, the artist did not lose interest in art, "that he is still full of life; He continued to speak and write about everyone and everything with the former young immediacy and absolute sincerity. "

In the course of further controversy between the "World of Art" and Repin, each of the parties used various platforms to exchange complaints, including the Russian Newspaper and "News and Exchange Newspaper". Confirmation that the refund to the former relationship is impossible, the reaction of the "World of Art" has become a repinne's speech at the Academy of Arts (December 1899). It was dedicated to the centenary anniversary of Charles Bryullov, approvingly accepted the hall, but in the Dyagilev edition, "as devoid of thought, full of curiosities and absurdities" is regarded. At the same time, Dyagilev, who argued that "Repin's views now do not matter," continued to highly put it as an artist.

Pedagogical Activity (1894-1907)

From the instructions I. E. Repin

• See more, draw longer, write easier.
• Expression is more expensive.
• Nothing extra.
• Look for a meeting of large planes.
• Knowing of limits! Knowing of limits!
• It is necessary that the body is body, water is so water.
• As it came out - both stop.

In 1894, Repin, who had already received the title of a professor of painting, returned to the Academy of Arts as the head of the pictorial workshop. The fate of this educational institution began to worry Ilya Efimovich long before the first students came to his workshop. So, in 1877, Repin, being in Native Chuguev, wrote to a friend Polenov that mature artists who could benefit the Academy should "enter it, at least for this I had to postpone trouble."

Reviews about pedagogical methods Ilya Efimovich were disgraced. Critic Viktor Burenin believed that "Repin assured himself and wants to assure others that the Academy was really revived from the moment he took possession with the company." The student of the artist Igor Grabar responded to his master paradoxically: "Repin was a bad teacher, but a great teacher." According to the artist Yakov, Minkchenkova, as Professor of the Academy Ilya Efimovich "was an attractive force for youth" - it was not by chance that the students of many art schools of Russia were trying to get into his workshop. Remembering that the apprenticeship is for many young people a complex "financial period", the head of the workshop satisfied his pets in the publisher as illustors, gave them recommendations to participate in paid artistic projects. In different years, such artists as Philip Malyavin, Dmitry Kardovsky, Boris Kustodiev, Anna Ostododyev, Dmitry Shcherbinovsky, Ivan Bilibin, were engaged in the Repin workshop, Dmitry Kardovsky, Boris Kustodiev, Anna Schcherbinovsky, Ivan Bilibin, Nikolay Fein and others.

Repin twice filed a resignation. The first time - in 1905, when he had disagreements with Serov and Polenov. Valentin Serov, who observed from the window of the Academy for events on January 9, saw the collision of the crowd with the troops; According to Ilya Efimovich, since then, "his dear character has changed cool." Together with Polenovy Serov, a letter addressed to the Council of the Academy, which recalled that "a person who has the highest supervision of these troops is at the head of the Academy of Arts." When the writers of the letter appealed to Repin with a proposal to put their signature under the text, he refused, noting that the Grand Duke could not foresee how events unfold. In January, "At the request of students", the Academy was temporarily closed; Repin responded to what was happening: "What can we" in the godine of disasters and shame!? "In September, he went to Italy, and on his return he wrote a petition for resignation with motivation:" As a result of an indefinite position in [Lucky] x [Higher] [Chilishchi] In the present and possible changes in the future. " In December, the petition was satisfied, but in April 1906, Repin at the request of colleagues returned back.

Final parting with the Academy occurred in 1907. According to researchers, despite active activities The repincial workshop, between artists and his pets gradually increased alienation. So, the pupil of Repina Gabriel Gorelov argued that the Master and his pupils were liked on the back of the Academic Tea, where a unpleasant dialogue between Ilya Efimovich and Konstantin Lepilov, who expressed dissatisfaction with the fact that many novice painters come to the Academy are disappointed in their choice . Another reproach sounded from Nikolai Verkotorov, who had noticed that other professors live in huge apartments, while their pets sometimes lack money even for lunch. After this conversation, Repin wrote the second petition, passed the apartment received from the Academy, and went to the thick of the Casual Polyana. In a statement addressed to the President of the Academy Ilya Efimovich, he indicated that the prompt reason forwise, forcing him to abandon the position of the head of the workshop, is "a small time remaining for its own work." Part of the students went to the next, but their attempts to return the masters were unsuccessful.

Tsaric orders

"Reception of the High Starshin by Alexander III in the courtyard of the Petrovsky Palace in Moscow"

In 1884, Rampin received the first "state order": he received a proposal to write a picture "Reception of the Holy Starshin by Alexander III in the courtyard of the Petrovsky Palace in Moscow" (the second name - "Speech by Alexander III to the volost ears"). Despite the fact that the word "order" several painted artist, set up to him the task seemed interesting - in a letter Pavel Tretyakov, he reported: "This new topic Pretty rich, and I like it, especially from the plastic side. " To create a background, the artist specially traveled to Moscow so that in the courtyard of the Petrovsky Palace to prepare etudes with the obligatory presence of the Sun, the light of which served as an essential element of the composition. Part of the work took place at the cottage in Belogork; Hence the Repin periodically traveled to Peterhof and Alexandria to make sketches of royal clothes.

The picture, the work on which was completed in 1886, was in the first hall of the second floor of the Grand Kremlin Palace. After the revolution, she was removed and removed into the repository, and the artist of Isaac Brodsky's "Speech by V. I. Lenin on the II Congress Comintern on the II Congress was hanging on the liberated place.

Another "royal order" was the picture "Anniversary Meeting of the State Council", dedicated to the Century of the State Council (1901-1903). The artist connected two students from his workshop to work on this web - Boris Kustodiev and Ivan Kulikova; The pets of the Academy of Arts were present at all sessions, they prepared canvas, if necessary, made sketches.

I. E. Repin. "Jubilee Meeting of the State Council." 1903.

The urgency of the order and the rapidness of its execution did not allow Repin to grind a picture for a long time: for each of the sixty portraits, the artist highlighted no more than three-four sessions. In other cases (as when working with Constantine victorious and some other "models"), Ilya Efimovich was limited to one session. Many dignitaries, especially those who had to "pose a backbone," did not hide discontent, and their irritation also had to take into account. It was the "mad race", according to Igor Grabar, made it possible to create a bright portrait gallery, led by the colleagues of Repin in "Established amazement":

Forced to work quickly, as fast as never before, he (Repin) gradually developed a special Maneru of a single-shelf writing. Essentially, this is a stunning outline with a brush, almost mumbling impressions, but at the same time they are the last synthesis of perennialic persisions.

The picture "Anniversary Session of the State Council", according to researchers, did not enter the number of repincial masterpieces and became the last of its "grandiose cavities"; Nevertheless, this work has demonstrated the audience the opportunity of the "mature talent" of the artist. Until 1917, the canvas was located in the Mariinsky Palace; Part of the etudes were acquired by the Alexander III museum. Ten thousand rubles received from the museum for sketches, the artist sent to the needs of Fleet. The picture is in the permanent exposition of the State Russian Museum.

Female images

In the gallery created by the repincial pictorial images, there are several paintings written, according to researchers, "with women who truly admired the artist." Body visiting Lion Tolstoy in Yasnaya Polyana, Ilya Efimovich became friends with the daughter of the writer Tatiana; Her portrait, made "with some shares of idealization," radiates charm, characteristic of this woman. Among the students of Ilya Efimovich, Marianna Verekin was distinguished. Over her portrait, Repin began working when the artist was already part of the time of maturity. However, the Mentor of Ropekina accurately forgot about the age of his pupil: he "managed to transfer his former attitude to her to canvas." In 1880-1890s, the artist experienced genuine inspiration to feminine beauty - portraits S. M. Dragomirova (1889), Baroneles, V. I. I. Ikskul von Hildenbandt (1889), N. P. Golovina (1996); The same row includes a "naked simulator (from the back)" (mid-1890s).

I. E. Repin. "Portrait of Eleanora Duza." 1891.

Varvara Ikskul von Guildenband was a wife of the Russian ambassador to Rome and the owner of one of the most popular Petersburg salons, which from time to time was visited and repin. Watching the guests (among them were Korolenko, Dmitry Merezhkovsky, Vladimir Solovyov), the artist created album sketches. When working on a portrait of the most hostess, posing in a dazzling outfit - scarlet blouse and a black skirt, it was an emphasis on her "sophisticated aristocrat", connected with extravagant.

According to the best graphic works of Repin, researchers include a portrait of an Italian actress Eleanora Duze. The artist was familiar with her theatrical works, communicated with Duza in the house of Barbara Ikskul. The initial idea is to write a portrait of an actress with paints - failed to implement; The picture in which the noble sophistication of the lady is combined with the function of the situation, was performed by coal on the canvas. When choosing the composition, the artist used an unusual perspective - "with a look at the model with a low point of view."

I. E. Repin. "Portrait of Elizabeth Zvantseva." 1889.

A portrait of a portrait of Elizabeth Zvantseva (1889), which, according to art historian Olga Lyaskovskaya, "much more substantially and stricter", rather than the previous "large-life" canvases of the artist. They became acquainted in the spring of 1888, when the girl on the recommendation of Vasily Maten came to the workshop to Repin. About how strong the artist's passion for his student was evidenced by the letters of Ilya Efimovich, addressed to Elizabeth Nikolaevna:

How I love you! My God, God, I never imagined that my feeling would grow to such a passion. I'm starting to be afraid of myself ... the right, even never in my life, I never loved anyone so in disabilities, with such selflessness. Even art has moved somewhere, and you, you - every second I have on my mind and in my heart ...

Relationships were so painful that Zvantsev even changed the teacher, going to the workshop to Pavel's cleaner. However, the meetings continued until in 1891 Elizabeth Nikolaevna, and not completed study at the Academy, did not leave St. Petersburg. Portrait of a Zvanta Repin in the fenats; He hung in the dining room before his last days.

Repin-illustrator

Despite the fact that I. E. Repin often applied to the illustrating works of L. N. Tolstoy, A. S. Pushkin, N. V. Gogol, M. Yu. Lermontova, N. A. Nekrasova, N. S. Leskova, The viewer little is known about the artist's activities, and it still remains not sufficiently studied. Art historians noted that when contacting creativity different writers The artist varied his style: "When illustrates Gogol, he is a realist, Tolstoy - he is mentoring, Pushkin and Lermontov - he is a romantic."

According to I. E. Grabar, the first watercolor sketches to the "song about the merchant Kalashnikov" Ilya Efimovich created during study at the Academy of Arts, in 1868, "Kiribayevich, who pursues Alena Dmitrievna" and two more pictures on this plot. These and subsequent illustrations for Lermontov - watercolor to verses "In the sky midnight angel fly" (1880), "three palm trees" (1884), to the drama "Masquerade", to the story "Bal" (1884) were unsuccessful. The authors of the Lermontov Encyclopedia and the Encyclopedic Lermontov Dictionary criticize them for excessive romanticism in the image and the imperiment of the repin into the deep tragic meaning of the works of Lermontov. But unlike watercolors, pencil drawing "Kazbich Harbor Bal" (1887) is considered the best operation of the Repin associated with the work of the poet. Watercolor "Pechorin at the window" of the 1890s is devoted to the story "Princess Mary."

A series of illustrations for the "Prophet": Watercolors with sepia "The Prophet at the entrance to the temple and the crowd mocking over him," "People ridicule and break the stones of the prophet running down the street" depict a lyrical hero in modern society; Watercolor "The rejected prophet in the desert" and the drawing of the masculine "in the desert" completes this series. The drawings were intended for the first volume of the collected Works of M. Yu. Lermontov 1891. Nevertheless, all these illustrations, according to the author of the Lermontov Encyclopedia, are the "most significant attempt to transfer the deep meaning of the" prophet ".

The image of the Prophet in Repin turned out to be unusual: Already a melanoe, long-haired, bearded intellectual in a rubbish instead of clothes - this was presented by the artist who was under the influence of Tolstsky views. His appearance, burning eyes on a hazardous face, opposed the appearance of another character - a man of coarse and landed. But this picture is more likely to variations of the artist on the theme of modern life, rather than traditional literary illustration. Contrary to the fact that the creations of Repin were deep penetration into the image of the Lermontov character, his illustrations were not impressed by artistic critics, Ilya Efimovich and himself was unhappy with his works to the "Prophet". As a result, these images in the composition of Works M. Yu. Lermontov did not enter the following appeal to the work of Lermontov occurred in 1914-1915. - It was his drawings to the "demon" and "MTSI".

Great luck accompanied the artist when contacting the works of Gogol - the psychological aspect of Gogolsky creations was transferred to the Repin expressively and was met. Gogol belonged to the number of repin's favorite writers, Repin has repeatedly addressed the image of the writer himself and the illustrations of his works. For the first time, interest in the "memorandum of the madman" manifested itself from Repin in 1870. Then followed a long-term work on the letter "Letter of the Zaporozhtsev Turkish Sultan" with the characters of Taras Bulba, but it's still not book graphics, but picturesque workThe calculated on viewing in the exhibition hall, but the Repin performed the drawing to the plot of Taras Bulba - "Andriy and Pannochka" (1890). In addition, four illustrations were created to the "Sorochinsky Fair" (1870) and one to the "terrible revenge" (1890). In 1896, the artist made a new sketch of the field - the main acting person "Notes of Crazy." In this Gogol Character, the artist found "acute psychological grotesque collisions" - according to the expression I. A. Brodsky.

In 1913, five repinne pictures on the insane hero of Gogol were presented to the public court. Art historian Konstantin Kuzminsky, who saw them in the exposition of the Gallery Lemrache, was called by his impressions:

Two these illustrations produce a particularly strong impression. It is a copyright in the sheel and shaped cap, depicted, must be at the moment when he goes to "see Fidel and interrogate it." Madness barely sits in his eyes. It is much stronger on his face an extraordinary concentration. After all, he is absorbed, probably at this moment to solve the thought secret meaning Of that conversation of two dogs, which he overheard on Nevsky Prospect ... An even stronger impression produces a drawing depicting the field lying on the bed. His gaze is fixed into space, and you clearly feel, looking at this drawing that Parotchin at this time - how to appear, sees and hears or wife of the director, or talking dogs, or even himself in the crown and mantle of the King of Spanish ...

Sepia "Killed Lensky" is devoted to Pushkinsky Creation - one of several options, which was embodied in the end in the painting "Duel Onegin with Lensky."

Pictures "Angel Meeting with a shoemaker Semen at the chapel" and "Angel at Semyon's shoemaker in the hut" were created in 1881-1882 for illustrating the story of Lion Tolstoy "What people are alive" in the collection of 1882 "Stories for children I. S. Turgenev and GR . L. N. Tolstoy. " In 1889, a series of drawings was supplemented with a sketch "Supozhnik Semyon removes the measure from the legs of the barina." A collection with illustrations with a set of several editions. In addition, the artist illustrated several other small works of Leo Tolstoy, including him interested the image of the Blacks in the story of the "Church of Bread".

K. S. Kuzminsky believed that the painting "Burlaci on the Volga" is also a response to the poem of N. A. Nekrasov "Reflections from the Parade Paddle" (1858), but Repin himself claimed that he met Nekrasovsky Strongs "Out on the Volga ... "Two years after creating your picture. An illustration, according to Criticism, was the picture "Sadko", but an illustration for Russian epics.

From other works deserve to mention the drawings to the works of N. S. Leskova "Beautiful Aza", "Soviet Danilla", "Mountain", V. Garshina "Artists", Shakespeare "King Lire", A. P. Chekhov "Men", Leonid Andreeva "Story about seven hanged", for the works of Maxim Gorky. Figures I. E. Repin-illustrator, according to some art historians, distinguish the "liveliness, sharpness, charm of the Repin artistry and an acute psychological" grip ". At the same time, art historian I. I. Lazarevsky in the article "Repin-illustrator" negatively responded about the art of the repin-illustrator. He supported his review by V. A. Serov. In confirmation of these words, he also brought the words of the Repin itself about his disappointment in his abilities to illustrate the book:

Brilliant Cow God Horn does not give<…> How much in my life I wanted to illustrate. Especially when I still did not feel the whole weakness of the illustrator. Here is Pushkin, his "Tale of Belkin" and among them the most "stationary caretaker". As caught fire in me. Also how much passed paper, and no sense. I didn't even leave a bar - everything destroyed. No, forever quite about illustrations. If in me there is a talent, then this is the talent of the artist of the seeing, not fantasizing.

Koookel (1900-1930)

Second marriage

The second wife of Repin was the writer Natalia Borisovna Nordman, who wrote under the numeral numeral. Their acquaintance occurred in the artist's workshop, where Nordman came along with the princes Mary Tenisheva. While Ilya Efimovich worked on a portrait of Tenisheva, another guest read poems out loud. In the spring of 1900, Repin arrived at the Paris Art Exhibition with Natalia Borisovna, and at the end of the same year he moved to her in the estate of the Penate, located in Kuokkale.

Chukovsky's roots, who, according to his own admission, "closely watched" for the life of Nordman for several years, believed that the second wife of the artist's efforts of some researchers were created by the reputation of the "Effects of Bad Tone". However, the basis of these "Cuches" lay sincere care for her husband. Natalia Borisovna from the moment of convergence with the Repin began to collect and systematize all the information that emerges in the press about Ilya Efimovich. Knowing that the visits of numerous guests sometimes do not give him to focus at work, she initiated the organization of the so-called "environments", thereby giving the opportunity to the artist not to be distracted by visitors on other days of the week.

At the same time, as Chukovsky noted, Natalia Borisovna was sometimes too far in his innovative ideas. So, a rapidly protesting against the fur, she flatly refused to wear fur coats and put on "some kind of thinland" in any frost. He having heard that brazers from fresh hay helpful, Nordman introduced these drinks into a casual diet. Students, musicians, artists who were not tired to surprise the fact that the feeding of dishes at the table was adjusted to the help of mechanical devices, and only vegetarian dishes and a little grape was called "solar energy " In the house everywhere, written by the owner ads: "Do not wait for the servants, it is not", "do everything yourself", "the door is locked", "serving - shame of mankind."

Natalia Borisovna never occurred to the head that she damages the name of Repin. She was sure that he didn't use this name for their own benefits, but solely for the sake of propaganda of beneficial ideas that happiness should bring humanity.

- Chukovsky's roots

The second marriage of the Repin ended dramatically: sick tuberculosis, Nordman left the Penates. She left for one of the foreign hospitals, without taking with him no money or things. From the financial assistance, which her husband and his friends tried to give her, Natalia Borisovna refused. She died in June 1914 in Locarno. After the death of Nordman Repin handed out economic affairs in the daughter of the daughter of faith.

Repin-memoist

In Kuokkale, Repin began to write memoirs, who made the basis of his collection of essays "distant close", which was prepared for press in 1915, but was published only 7 years after the author's death - in 1937. According to the editor and the compiler of this book, Kornea Chukovsky, the main features of the memoir notes of Ilya Efimovich are the fiction and "dramatization of events":

Describing any episode, he always gives him hot emotion, scenic. Even the arrival of the passport demanding from Vasilyeva, even the crowd of the public in front of the paintings of the Quinji archup, even the appearance of Lion Tolstoy in the St. Petersburg tram, - all this is dramatized to them as if for the scene.

Kramskaya on the pages of the Repin book - "not frozen wax Figu", A hero of a fascinating, almost detective story; Friend-artist Fyodor Vasilyev, with whom Ilya Efimovich went to the Volga, - "Skrying, unceremonious and infinitely charming young man"; Essay on collecting materials for Burlakov is akin to the "poem about youth." Separately Chukovsky allocated the dialogues that are saturated with the memories of Repin. Each of his characters - from Chuguevsky Meshchean to Professors of the Academy - has its own speech features; Possessing excellent memory, the artist after many years easily reproduced the speech of the Volga Rybakov and Zaporizhzhya Cossacks. Before proceeding to a particular essay, Ilya Efimovich several times told him to guests appearing in the fenats. Making sure that the listeners the next story are really interesting, Repin recorded it, while maintaining spoken intonation; From here - the rigging style of his book.

Self-portraits Repin

The first self-portrait of Repin wrote in the youthful years in Chuguev. As Ilya Efimovich recalled, the fate of this work was non-unquided: in the absence of a young artist, a local merchant of Ovchinnikov came to the Repin's house, he took off the picture from the wall and he took him to boast of guests. Repin so hurt this unceremoniousness, which, appeared to the Ovchinnikov with a "return visit", he ripped his portrait into small parts, which he later regretted.

At the nineteenth-year-old, Repin created another self-portrait, which wrote "with himself in the mirror." The picture was made in the first months of the St. Petersburg life, and in the face of a young man who arrived in the capital with a hundred rubles in his pocket, a gamma of feelings was read - "Gusting, anxiety and at the same time alertness. Life ahead, what will it be? " In subsequent years, the artist repeatedly created his own images. On a self-portrait made in 1877, Ilya Efimovich looks exhausted; According to researchers, the pain that the artist's brush failed to hide, is a consequence of malaria suffered by Repin immediately upon arrival in Moscow. A year later, the artist again chose himself as a model; As a result, "the best of self-portraits of this period" was created, which is still stored in the Russian Museum.

I. E. Repin. "Self-portrait." Linoleum, oil. 1920. Museum-Manor "Penate"

With the age of Repin, there were problems with the right hand: she stopped obeying the artist. Friends, worrying about the health of Ilya Efimovich, began to hide brushes and pencils from him; Repin, not wanting to break away from his beloved business, began to write with his left hand. When weakened, almost negligible fingers stopped holding a palette, the artist brought the board for paints with special belts, threw them through the neck and continued to work. Repin referred to his state on a self portrait dated 1920:

The old man in a two-way sports cap sits in a chair, putting a sluggishly fallen hand on the next night. The face of the exhausted lonely man living in a cold room ... without refusing to his misfortune written this self portrait illuminating last decade The life of the artist.

last years of life

After 1918, when Koookel became Finnish territory, the Repin turned out to be cut off from Russia. In the 1920s, he became close to Finnish colleagues, made considerable donations for local theaters and other institutions of culture - in particular, presented large collection paintings by Helsingfor Museum.

Communication with the previous friends was only absentia. Letters talked about the fact that the elderly tired artist often overwhelmed Kandra. In 1925, Repin hoped that would be able to get out to the exhibition own paintingsOrganized in the Russian Museum, enthusiastically reported that, together with the children of faith and Yuri, it was about to visit Moscow and to visit the Rumyantsev Museum and the Tretyakov Gallery. However, the outlined plans were collected by the fault of the daughter, "the Efimovich promising Ilya accompany him to Leningrad and Moscow and the refused to fulfill his promise."

In the same 1925, Chukovsky's roots came to visit Repin. This visit became a reason for rumors that the roots of Ivanovich was supposed to offer the artist to move to the USSR, but instead "secretly persuaded the Repin not to return." Decade later, Chukovsky's letters were discovered, of which he should have been discovered that the writer, who understood that his friend "should not leave the years in old age." Penates, at the same time missed him very much and called to visit Russia.

A year later, the delegation of Soviet artists was arrived in Kuokkal, headed by the Repin's student - Isaac Brodsky. They lived in the fenats for two weeks. Judging by the reports of Finnish supervisory services, colleagues were to persuade Repin to move home. The question of his return was considered, according to the protocol of the Politburo meeting of May 22, 1924, at the very high level: According to the results of one of the meetings of the Politburo of the Central Committee of the CPSU (b), the Secretary General of the Central Committee of the CPSU (b) I. V. Stalin suffered a resolution: "Allow Repina to return to the USSR, entrusted by TT. Lunacharsky and ion take appropriate measures. " In November 1926, Ilya Efimovich received a letter from a member of the Central Committee of the CPSU (b) K. E. Voroshilov, which said: "Deciding to move home, you not only do not make a personal mistake, but you do a truly big, historically-useful thing." The son of Repin Yury was connected to the negotiations, but they ended to no avail: the artist remained in Kuokkale.

Mogila I. E. Repin in the fenats

Further correspondence with friends testified to the ugassion of Repin. In 1927, the artist reported in the Minkchenkov letter: "In June, I will knock on 83 years old, time takes my own, and I'm doing shaped lazy." To care for the care of a weakening father, his youngest daughter Tatiana was called from health care, which later said that all his children were on duty near Ilya Efimovich to the very end. Repin died on September 29, 1930 and was buried in the park estate of the Penate. In one of last letters Friends artist managed to say goodbye to everyone:

Goodbye, goodbye, lovely friends! I had a lot of happiness on earth: I was so undeservedly lucky in my life. I seem to do not stand at all of my glory, but I didn't care about her, and now, spreading in a gentle, thank you, thank, completely touched by a good peace, so generously always always glorified me.

Creative method and principles of work

The principles of their work Repin formulated on the pages of the book "Farm close"; At their basis, "matter as such": "I am not doing to the paints, smears and virtuosity of the brush, I always pursued the essence: the body is like a body." He rejected the "acrobatics of the brush, painting for painting" and was ready following Kramsky to repeat that the "precious quality of the artist is a heart." Ilya Efimovich called his realism, "simply", emphasizing that attempts to smell him never succeeded: his brush, according to Kornea Chukovsky, "was true of himself." The artist Yakov Minichenkov believed that Repin was never interested in the Aestheus:

Fascination with one form or paints, the departure of the past, sophistication - all this was not for Repin. He needed life theme, Living people, wide plastic, expression, strong experiences.

I. E. Repin and F. I. Shalyapin. 1914.

While working on portraits, the artist, according to his own confession, "for a short time fell in love with" in nature, studied the books of the writers of the writers, listened to the music of composers, reproduced large quotes from poets poems - it was a short, but mandatory " honeymoon"Repin with people whose images he created. So, working on the "burles", Ilya Efimovich was delighted with the canine, "he fell in love with the passion in love with his character and in every shade of his skin and the prerequisite shirt"; Such passionism researchers called "professional feasibility". Despite the fact that Repin wrote and watercolor, and ink, in the first place he had oil paints. Brushes, he worked almost blindly, trying not to tear off the view from the person sitting in front of him:

Hands themselves snatched the right brush themselves, they themselves mixed paints in due proportions, and he did not notice all this technology of creativity, since she became subconscious for him.

Appearance, character, attitude to everyday life

Researchers have repeatedly drawn attention to the fact that against the background of their webs, Repin did not look a giant. Jacob Minchenkov, who became acquainted with the artist during the work of the mobile exhibition of 1898, recalled that he saw a low-spirited man with curly hair and a sharp beard. The recognized master, the appearance of which and the audience, and colleagues were waiting for, held with "shy modesty", followed by the "Little Rice of Balovna Fate". The same told in his essays about the artist and the roots of Chukovsky, whose first meeting with Ilyona Efimovich occurred in Kookkale: the artist, the paintings of which were struck by the scale, was not gicked up: "A little growth, with a smiling, strong, weathered face, in the most Ordinary rustic knitted gloves. "

The niece of the first wife Repin Lyudmila Shevtsova-dispute, who lived in the St. Petersburg apartment of the artist during three yearsHe said that guests were constantly visited by the open house of Ilya Efimovich: in addition to colleagues-artists, the regulators of the spacious apartment were the writers Maxim Gorky and Zinaida Hippius, Artists Gregory Ge and Vladimir Maximov, scientists Dmitry Mendeleev and Vladimir Bekhterev. In addition, in the period described in the house of Ilya Efimovich, three pets lived in his picturesque workshop, including one of the favorite students - Konstantin's merits. In the summer months, when the artist went to the etudes in healthy, the disciples followed him.

I. E. Repin with guests on a winter veranda in the fenats. 1905.

Having moved in 1900 to the estate of the Penate, Repin was forced to lead a more closed lifestyle. Constant connection with the previous environment, he supported using letters. Daily postman brought many envelopes to the artist; On each of the letters Ilya Efimovich answered himself - sometimes it took this several hours. The same obligatory occupation was also reading daily newspapers. Any book brought to Kookkalu, Ilya Efimovich perceived as an event; His letters addressed to friends, abounded by "literary" details: "I reread Korolenko. What is the brilliant thing of his "shadow" ", "Nekrasov read out loud people - great pleasure".

Solva emphasized the Repin with such quality as a tendency to excessive savings, reaching the tackle. In the refutation of these rumors, Chukovsky reminded that the artist really spent very little. At the same time, he did not miss the opportunity to take part in various kinds of charitable promotions and help others:

He donated the artists of the Small Theater, M. Schepkin, in favor of starving sacrificed his picture "Nikolai Mirliysky" (1891), gave the native city to Chuguev a fair amount on the device of the Abyssinian Well, etc.

Repin museums

On the territory of Russia, Ukraine and Belarus today there are four museum-estates of Repin, the most famous of which is the Manor of Penate, in which Repin lived for about three decades. The manor received its name in honor of the ancient Roman gods that were responsible for the protection of the house and family. The household territory was originally wetlands, so the owners conducted landscaping work, built ponds and canals. Artificial Chuguev Mountain was erected from the Earth during these works. Almost all the objects of the garden surrounded by the house had the names taken from fairy tales or myths: "The Temple of Isis", the Tower of Sheherzade, "Rock Prometheus." A small structure in which Repin and his wife settled at the beginning of the 20th century, over the years I transformed: the owners of the estate set the second floor, equipped two workshops - for winter and summer work.

After the death of Natalia, Borisovna Nordman was made public its will, according to which Ilya Efimovich became the life owner of the estate. In the future, Penates had to go to the property of the Academy of Arts. According to the will of the artist's wife, in the premises of the manor, it was necessary to create a house-museum, "preserving tastes and the habits of Repin". In 1914, having familiarized himself with the text of the will, Repin transferred to the Account of the Academy of 40,000 rubles, intended for the organization of the future museum.

In 1930, the Guardian of the estate and archive became the daughter of Repin Vera Ilyinichna. With the beginning winter War Faith and her brother Yuri moved to Helsinki. From the Kookkala, included at the end of the fighting in the USSR, received news that Repin's house was left without supervision. Representatives of the Academy of Arts of the USSR - Art historian and painter Shhaya Khayevich Melamud, arrived in the Penates of the estate and systematization of exhibits in the Penates. In Soviet times, blame for the mess in which the repincial archive was located on faith Ilyinichna; It was reported that, leaving the Penate, she took with him "the most valuable from the artistic father of the Father." After decades, the opinion has changed: according to the head of the Museum-estate Tatyana Borodina, the artist's daughter contained a workshop in the way she was during the Life of Repin; Things and documents Ilya Efimovich stayed in the house.

The first museum of Repin, appeared in 1940, existed for long: in 1944 the building was destroyed. The archive, adopted from Kookcals in advance, was not injured. Preserved paintings, letters, things became the basis when restoring the estate. The elements of the garden design were recreated in the drawings of Repin and memories of those who were in the fenats. The house museum was opened in the summer of 1962.

Repin museums are also located in Chugueva (artistic and memorial museum), at Samara Luke (House-Museum in Shiryaevo) and Vitebsk (Museum-Manor "Lubility").

The value of creativity. Influence. Estimates

Researchers, mentioning the scale of the repinne's personality, mean not only the diversity of genres subject to him and art technician, but also "the versatility of creative interests": he showed himself as a painter, teacher, theorist of art, writer-memoirist, publicist. Ilya Efimovich created historical canvas, genre paintings, portraits, landscapes; Left a lot of illustrations for the works of Russian classical literature; In his creative heritage, graphic and sculptural works are preserved.

According to the legend, the picture of I. E. Repin "Nikolai Mirliki eliminates death Trey innocently convicted ", purchased by Alexander III at the 17th mobile exhibition, influenced the decision of the emperor to create a Russian museum

The Creativity of Repin is, according to Art historian Mikhail Allenova, the "peak of mobile realism"; This also applies to its thematic scope, and stylistic plasticity. So, born in the 1870s, the idea of \u200b\u200bthe "choir painting" was embodied in the Repin in the canvas "The Great Step in the Kursk Province", in which the author managed to show the character of the crowd "incomparably convincing than all artists to him." The painting "Burlaci on the Volga" can be interpreted as a "choral picture", and as a "group portrait". The most significant of the genre works of Ilya Efimovich is "not waiting"; In this work, the artist is interested in the "composition exactly as a question." Turning to the historical plots, Repin created the picture "Ivan the Terrible and Son of His Ivan", in which a specific tragedy takes the viewer for a century-old problem: "Despot, punished by the flour of repentance."

From the very beginning of its path, Repin was recognized as one of the brightest representatives of Russian realism. Long-term and continuous activity, attention to all parties to modern life, "fast" brush, fixing events, provided unrelenting attention of criticism and public to the artist's work.

According to Alexey Fyodorova-Davydova, on the global scale of Repin comparable to the French painter Gustaven Kourbe and the German artist Adolf von Mencell. Speaking about the impact on the Repin of the Russian art school, art historian calls Alexander Ivanov's representative, whose idea "to make the art of a teacher of life" Ilya Efimovich managed not just to master, but also to develop; In addition, he took enough deeply perceived "Fedotovskoye Beatovachka." Mikhail Allenov includes Rembrandt and France Hals. Art historian Olga Lyascovskaya discovers in the works of mature repinne explicit references to the works of Velasquez, who was interested in the artist from the point of view of "Studying human face And his facial expressions. " German historian Norbert Wolf, seeing a typical sample of a "salon-academic artist" in Repin, emphasizes attention on his Paris business trip; During this period, Ilya Efimovich deeply absorbed the picturesque language of Mana. It is the stylistic proximity of the Repin to one of the hedlemen of the impressionism allowed the organizers of the exhibition "Impressionism. America-France-Russia. Vienna, Kunstforum, 2002 "Include in the number of exhibits the picture of Ilya Efimovich" Lady, based on the chair "(1873).

Evidence that the "Repin insecure" is the position Alexandra Benois, which at the turn of the XIX-XX centuries, estimated Ilya Efimovich as an artist, who is not ready for history, "and in 1930 he wrote in the Paris publication" Recent News "that Repin is a" decent representative of the Russian beginning on the world Parnassa. " Recalling the meaning of Repin for Russian culture, Chukovsky's roots lists the contribution of the artist to various industries of science and art:

Russian music Repin glorified with his portraits of Glinka, Mussorgsky, Borodin, Glazunov ... Russian literature - portraits of Gogol, Turgenev, Lion Tolstoy, Pisem, Garshina, Feta, Stasova ... Russian painting is represented by a whole gallery portraits: Surikov, Shishkin, Kramskaya, Vasnets, Queenji ... He glorified Russian science portraits of Sechenov, Mendeleev, Pavlova, Tarkhanov, Bekhtereva.

Benoit in his late memories regretted that "the present young people has no repinne." Meanwhile, the attempts to make it a pen of generation was taken in the 1920s very actively. In 1924-1925, the artist's personal exhibitions were held in Moscow and Leningrad, which posted the "prescribed and aggressive icon-performing" of the artist. In the USSR, the question of the return of Repin from Kookkaly had a political character primarily because the authorities needed an "ideological inspirer of realistic art"; It was assumed that it was Ilya Efimovich, he would lead the Association of Artists of Revolutionary Russia. Output in 1937, the monograph of Grabar dedicated to the artist's work was marked by a new coast of the Repin. As art historian G. Elszvskaya notes, the result of the global popularization of the artist in the USSR was the situation when the name of Repin, who, during his lifetime, was compared with Lviom Tolstoy, "perhaps, with the name of Pushkin, but in an ambiguous context - universal fame (" Our All ") No matter how obviously implies a specific acquaintance, nor personal relationship. "

The role of the "main proclaimer of social realism" (Wolf) Repin was involved in several decades. Thus, direct "borrowings" from its works were seen both on the canvases of Soviet painters and in campaign materials (for example, on the poster "Folk dreams came true). The authorities created the image of Repin as an "ideological artist"; This explains the scattering of paintings by Ilya Efimovich in dozens of small museums, each of which was obliged to have in the collection of the work of "ideologically desposed artists."

In the 1960s, the reassessment of values \u200b\u200btotal to the preceding decades took place. The revision was attracted to movement and, first of all, to the work of Repin, as the most noticeable representative of this movement. Soviet art history appealed to a more promising at that time to study other periods of Russian art, first of all visual arts turn XIX-XX centuries, which was considered the pretended "harsh style" and "other" radical "movements." To change the classic work of Grabar, Zilberstein, Lyascovskaya, in which the "Stasovskaya" opinion about Repin was developed as a "first Russian artist", with the greatest completeness embodied the principles of ideological realism, "nothing new did not come. Attitude towards Repin, which does not recognize halftone - either complete adoption, or unconditional rejection - did not contribute to a deep study of his creativity:

"In public opinion, he is buried somewhere in the mid-1890s, immediately after the" Zaporozhtsev "(in best case - With reference to the "Meeting of the State Council"<…> A sad conclusion suggests: more than thirty years of creativity selected in Repin and in Russian culture. Is it too generously in relation to the national shrine? "

\u003e Ilya Repin

Ilya Repin is an outstanding Russian painter. He was a master of household scenes who miseled with incredible accuracy to transfer the mood of his heroes.

For his life, he managed to create a whole gallery of portraits of contemporaries. Also brushes Repin belongs set historical characters. Ilya Repin is one of the brightest representatives of Russian realism.

Moreover, this amazing woman organized a small school, which the peasant guys visited, and adults.

There were few school subjects in it: cleaning, arithmetic and God's law. But all this was on the shoulders of the mother of the future genius.

Father and mother Ilya Repin

In general, the Repina family was devout: there they often read the Bible and other sacred books. Since the family was poor, the mother often had to sew fur coats for sale.

Once the cousin of Ilya, Trofim Chaplygin, came to visit Repin. He brought with him watercolor paints and brushes. It became the starting point in creative biography Repin.

Self-portrait of 19-year-old Repin, 1863

The fact is that when the little Ilyusha tried them to draw, he came to the real delight. After that, the love of remained for his life.

In 1855, when the Repina was 11 years old, the parents sent him to learn to the topographic school, which was closed soon. After that, Ilya began to work in the iconist workshop.

He did good progress in writing images, as a result of which he learned about his talent not only in Chuguev, but also beyond.

Having reached the age of 16, Ilya received an offer to work in the icon painter for 25 rubles per month.

Interestingly, the artists had to conduct a nomadic lifestyle, performing orders in one, then in another city.

Painting

In 1863, Ilya Repin goes to show the management of the Academy of Arts their work. However, there its drawings were sharp criticism. In particular, the young man said that he did not own a sharp and poorly creates shadows.

All this very upset the Repin, but he did not beat his desire to continue to engage in creativity. Soon he began to attend the evening art school.

Ilya Repin in youth

A year later, in the biography of Ilya Repin, it happened significant event: He entered the Academy.

Interestingly, his training agreed to pay one benefactor Fedor Sanki. The years spent at the Academy made the Repin of a high-class artist.

Later, Ilya managed to get acquainted with Ivan Kramsky, whom he considered his teacher. Soon the Repin was awarded the medal for the painting "Resurrection of the IAIR daughter."

In 1868, being on the banks of the Neva, Ilya Efimovich saw the burlacs pulling the ship. This event left an indelible mark in his soul. As a result, after 2 years, they were written by the famous canvas "Burlaki on the Volga".

The picture was perfectly accepted by art historians who admired how precisely the Repin could transfer each character. After that, the artist became popular not only in St. Petersburg, but also in.

Picture "Resurrection of the daughter of Jair" I. E. Repin, 1871

In 1873, Ilya Efimovich visited several european states. Interesting the fact that in Paris he met with the famous impressionist Edward Man.

However, his little attracted impressionism at that time. Repin on the contrary preferred paintings in the style of realism. Soon he presented his new work "Sadko", for which academic title was awarded.

After that, the journey Ilya Repin began to live in Moscow. It was there he wrote famous picture "Tsarevna Sophia". In order to be able to portray Sofia as much as possible, he reread a lot of documents about it.

Initially, the canvas was not assessed in dignity, and only Kramskaya saw a real masterpiece in it. After that, Repin presented several of his work on biblical plots.

In 1885, from under his brush, a famous picture was published "and his son Ivan on November 16, 1581", shown later at the exhibition of the Mobile. She got a lot positive feedback And today is considered one of best work Ilya Repin.

The painting "Burlaki on the Volga", I. E. Repin, 1870-1873.

Three years later, the master presented his new masterpiece "did not expect", at which he managed to extremely accurately display the emotions of each hero. Interesting the fact that the artist repeatedly rewritten the expression of the face of the unexpected guest, seeking to achieve the best result.

It is worth noting that in parallel with this Ilya Repin wrote a lot of cloths, which were depicted rustic landscapes And homemade utensils.

The next film of Repin "Cossacks write a letter to Turkish Sultan" brought an artist even greater than Glory. To write it, Ilya Efimovich reread many about the Cossacks and Zaporizhzhya Schashka, including Taras Bulbu.

During this period, the biography of Repin was considered one of the most talented painters, so that he repeatedly wrote pictures for Alexander 3.

Interesting the fact that the best portrait of a writer and working on arable land wrote exactly the Repin. At the end of this article there is a link to all the pictures of Repin, where you can find these two pictures.

At the end of the life of Ilya Repin lived and worked in Finnish Kooquill in the manor of the Penate. And although he strongly for himself in his homeland, he still preferred to stay in Finland.

Shortly before his death, the artist deemed right handAs a result, he had to work left. However, soon she stopped working and she.

Personal life

Ilya Repin was married twice. His first spouse was Vera Alekseevna Shevtsov, with which he lived for 15 years. Over the years, they had three girls and one boy.

Repin with his wife and children, 1883

The second time Ilya Efimovich married Natalia Nordman, which for the sake of the artist left the family. It was to her in the Penate he went in the early 1900s. In 1914, Natalia died from tuberculosis.

Death

At the end of the life of Ilya Repin turned into a weak and in need of an old man. His children were constantly held with him, who alternately on duty at his bed.

Ilya Efimovich Repin died on September 29, 1930 at the age of 86 and was buried in the park of his estate "Penates".

It is interesting that in 1948 Kookkal was renamed in honor of Ilya Repin, where he lived and worked for the last 30 years of his life.

Today, the Repino settlement is an internal municipality in the resort area of \u200b\u200bthe city of the federal significance of St. Petersburg.

Photo Repina

At the end you can see some interesting photos from the life of the Great Artist. Unfortunately, they are extremely small, while other contemporaries of Repin have a much more photo portrait.

Ilya Repin in his workshop in the Manor "Penate" (Kookkala village), 1914
Fedor Shalyapin Visiting Repin
From left to right: Maxim Gorky and his wife actress Andreeva, L. Yakovlev (secretary Stasova), Art critic Vladimir Stasov, Ilya Repin and his second wife Nordman-Sever
Art critic Vladimir Stasov and writer Maxim Gorky visiting Repin

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At the topography department. After the closure of the department at an urgent request of the boy, his father gave him to the students to the icon painter Bunakov, where Ilya worked for about four years.

In 1863, after an unsuccessful attempt to enter the Academy of Arts, Repin began to study in a private drawing school, where the artist Ivan Kramskaya was taught.

Repin memorial museums were also open in 1969 in Ukraine in the city of Chuguev, where the painter stayed at the parents from 1876 to 1877, in 1988 - in Belarus in the manor "Lubtelly", where the artist lived since 1892.
Ilya Repin was married twice. His first spouse was the daughter of the drawing teacher and the drawing of the Imperial Peterhofa Corner Factory Vera Shevtsov. In 1887, they broke up.

The artist married the second time in 1899 on the writer and the photographer, the Admiral daughter Natalia Nordman-Northern, which for the sake of marriage with Repini broke with his family.

From the first marriage, Ilya Repin had four children - three daughters Vera (1972-1948), Hope (1874-1931) and Tatiana (1880-1957), Son Yuri (1977-1954).

The son went on his footsteps, graduated from the Academy of Arts. From 1903 he worked with his father, participated in exhibitions of the Union of Russian Artists, a partnership of mobile art exhibitions. Yuri Repin wrote portraits, paintings on evangelical scenesBut most of all succeeded in historical and battlements, for which he was awarded several prizes. In the 1930s became an icon painter.

The eldest daughter faith was an artist Alexandrinsky Theater.In 1922 he moved to the father's estate "Penate", where he became a full mistress, taking on all household worries.

Within a few months before the death of the father, all children lived in "Penats". After the death of Repin, his second daughter Hope, having a weak mental health, died in 1931. Vera and Yuri moved to Helsinki, and Tatiana with his family emigrated to France.

Material prepared on the basis of open sources information

According to the brief biography of Repin Ilya Efimovich, a future artist was born in 1844 in Chuguevo (Kharkiv province). The artist's father was a "battle soldier", mother, Tatiana Stepanovna, came from a good family and was excellent formed. Interestingly, Repin was trying to preserve the connection with the "Malaya Motherland" until the end of life, and the Ukrainian motives often appeared in his works.

Passion for painting was discovered from Repin early, and in 1855 he was given to the school of typographers, but in 1857, the school was closed, and Repin went to the student in the icon-painted workshop. He quickly became the best and at the age of 16 began to work independently, enrolling in Artel, which was engaged in the construction and restoration of temples. In 1863, Repin decided to go to Petersburg and enroll in the Academy of Arts. Received not immediately, but after the course of study in the evening art school. But since 1863, he became a student of the Academy (until 1871), and the student is not the last. It was closer to I. Kramskaya and V. Polenov. For 8 years, he managed to get several awards, including a great gold medal of the Academy.

The first big success

In 1870, Repin begins work on the first of its big picture "Burlaci on the Volga". This work has produced a furyor in the international art community.

Ride abroad and life in Moscow

From 1873 to 1876, the repin lived abroad, traveled around Spain, Italy and settled in France, in Paris, where he met local impressionists, especially having loved manne. It was in Paris that he wrote a picture of Sadko, for which he received the title of academician and because of which a squall of critics hit him.

From 1877 to 1882, the artist lived in Moscow and was an active member of the commember of the Movies. It was at this time that he writes the picture "Tsarevna Sophia" and begins work with the most outstanding student V. Serov. At the same time, the artist was written by a portrait of M. Mussorgsky, who literally died in a few days. This work caused delight of critics.

Life in St. Petersburg

From 1883 to 1900, the artist lives in St. Petersburg. Here he writes the most outstanding works: "Ivan the Terrible and his son Ivan", "did not expect", "Cossacks ...", "Jubilee Meeting of the State Council" (by order of Alexander III). For a while, hitting the influence of A. Benua and S. Digeshev, Repin becomes a member of the "World of Art". Since 1894, he teaches at the Academy of Arts. With his students illustrates many works, for example, N. Leskova, N. Nekrasov.

A family

The first wife of the artist was his friend's sister Vera Shevtsov. The marriage was not successful, and after 15 years, the spouses divorced, "share" children: the elders took the father, and the younger stayed with his mother. Repin loved the children very much, often painted family portraits.

The second wife of the artist became Natalia Nordman, with which he began to live in the fenats (Kooochal), in Finland. The marriage was successful, although Nordman and heard "Crank". Especially unflattering about her K. Chukovsky (the writer was a big friend of the artist and even honored him to move to the USSR in 1925).

Ovedivov in 1914, Repin no longer married.

The artist died in 1930 in the fenats. Buried there. By the end of the life, he kept the clarity of the mind and tried to work.

Other biography options

• Interestingly, for the painting "Tsarevna Sophia", the wife of the artist faith sewed a dress, focusing on the outfits brought from the Armory Chamber.
• The artist twice was taken for writing the portrait of I. Turgenev (at the request of a friend, Garysta P. Tretyakov) and both times unsuccessfully. He fully believed that the portrait of a writer was the worst job.
• The artist tied a strong friendship with the writer L. Tolstoy. He wrote about 10 portraits and paintings with his participation. The most famous - "Lion Tolstoy on Pashne."

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