The picture has two options. The first, dating back to 1883, was started by Repin at his dacha in Martyshkino, near St. Petersburg. The rooms of this dacha are depicted in the picture. In the first version, a girl returned to the family, and she was met by a woman and two other girls, presumably sisters. The painting was the same small size as “The Arrest of the Propagandist” and “Refusal of Confession.”
“We Didn’t Expect” (first version of the painting, started in 1883)
Following this picture, Repin in 1884 began another version, which was to become the main one.
Ilya Repin. We didn't wait
This picture was also painted quickly, and already in the same 1884 it was exhibited at the Traveling Exhibition. But then Repin refined it in 1885, 1887 and 1888, changing mainly the facial expression of the person entering and partly the facial expressions of his mother and wife. Ten years after completing all work on the second version, Repin in 1898 again took up the first version and finalized it, mainly the image of the girl entering.
The second version became the most significant and monumental of Repin’s paintings on revolutionary themes. The artist executed it in much larger sizes, modified the characters and increased their number. The girl entering was replaced by a revolutionary who had returned from exile; the woman rising from her chair in the foreground was replaced by an old mother; instead of one girl, a boy and a little girl were depicted at the table.
Two appeared at the door female figures. Only the figure at the piano has been preserved, but its appearance and pose have changed. All these changes gave the picture a different sound and gave its plot a richer and more significant content. The purely family, intimate scene of the first version acquired a social character and meaning. In this regard, obviously, Repin increased the size of the painting, giving it monumentality.
In the painting “They Didn’t Expect” Repin found a plot that allowed him to create a canvas of great ideological content, revealing his talent as a genre painter, his skill psychological characteristics. As in “Refusal of Confession,” Repin gives a psychological solution to the revolutionary theme in the film “They Didn’t Expect.” But here it is in the nature of action. This was dictated by the very meaning of the plot of the unexpected return. By replacing the characters in the second version and increasing their number, Repin pursued the objectives best development and showing this action. As happened in a number of Repin’s paintings, the resolution of the plot proceeded by overcoming external characteristics, artificiality and “illustrativeness” and the creation of a living scene snatched from life. So, at first Repin introduced into the picture the figure of a father, warning about the return of the exile and thus preparing those present. There was also, according to Stasov, the figure of “some old man.” But in the process of working on the painting, Repin removed what was too external in nature and focused specifically on the psychological solution to the topic. At the same time, he left figures that help maintain the effectiveness of the scene. So, for example, the figures of women in the doorway are needed to show the experience of the scene also by outsiders, and not just by family members, who in turn are shown more diversely than in the first version.
It is interesting that all changes in the composition, the removal of figures, as well as the reworking of facial expressions, were made by Repin directly on the canvas itself. The picture was thus arranged as if it were a theatrical mise-en-scène. Repin painted the first version of the painting directly from life, at his dacha, placing it in the room as characters their relatives and friends. They also served as models for big picture: the wife of the returnee is based on the artist’s wife and V.D. Stasova, the old woman’s mother is based on her mother-in-law, Shevtsova, the girl at the table is based on Vera Repina, the boy is based on S. Kostychev, the maid at the door is based on the Repins’ servants. Big picture, probably, was also started in Martyshkin to some extent from life. Continuing to work on it in St. Petersburg, Repin composes and writes it, as if having a full-scale scene before his eyes, a method that he also used in “Cossacks.”
Before us is an image of a typical intelligent family in its usual setting. The heroic revolutionary theme in the film “They Didn’t Expect” appeared in the usual form genre painting modern life. Thanks to this myself genre painting And modern life were elevated to the rank historical painting, which Stasov correctly noted. The internal theme of the picture was the problem of the relationship between public and personal, family duty. It was resolved in the plot of the revolutionary’s unexpected return to his family, which remained lonely without him, as an expectation of how this return would be perceived, whether the revolutionary would be justified by his family. This problem of justifying the revolutionary by his family was, in essence, the problem of justifying and blessing the revolutionary feat, which Repin gave in the film in the only form possible under censorship conditions.
From here it is clear that the main task of the picture was to convincingly show the unexpectedness of the revolutionary’s return, the variety of experiences of himself and his family members. It is known that Repin rewrote the face and tilt of the head of the person entering three times, giving him either a more sublime, heroic and beautiful expression, or a more suffering and tired expression. Finally, in the last, fourth version, he achieved the right decision, giving the energetic face and the entire appearance of the returnee an expression of uncertainty, combining in his face heroism and suffering at the same time. Any other solution would be wrong in the sense that it somehow simplified the complexity of the moral and psychological problem, reducing it either with an ostentatious confidence in blessing, in recognition, or with excessive pity and compassion.
In the film, Repin’s talent for expressive characteristics unfolded with all his might. Each of the characters is outlined and presented with exceptional strength and prominence, up to such minor characters like a servant at the door or a little girl at the table.
Not only the facial expressions are remarkable, but also the very poses of the characters and the plasticity of their bodies. Particularly indicative in this regard is the figure of the old woman’s mother who rose to meet the incoming man. She is so expressive that Repin could afford to almost not show her face, giving it in such a turn that his expression is not visible. The hands of the old woman and the young woman at the piano are beautiful, characterized surprisingly individually.
The unexpectedness of the revolutionary’s appearance, his inner uncertainty is conveyed not only in his face, but also in his entire pose, in the way he stands unsteadily on the floor, and how “alien” he looks in the interior. This impression is created due to the fact that the figure looks like a dark spot on the overall light tone of the interior, especially since it is given against the backdrop of an open door. He must have seemed so alien, at least in the first moments of the meeting.
The dark figure of the returnee, in a brown overcoat and large trampled on the open spaces long roads boots, brings into the family interior something of Siberia and hard labor, and with it, pushing the walls of the house, here, into the family where they play the piano and the children prepare their lessons, as if the enormity of history, the harsh cruelty of the life and trials of a revolutionary, enters.
The figure of the returnee also becomes unstable because it is depicted at a different angle to the plane of the floor than the figures of the rest of the family members. The composition of the picture is easily divided into two parts. In this case, you can find that the horizon level in them is different; this can be seen from the perspective of the floor boards. It is also noteworthy that all the characters on the right side, that is, the family of the returnee, are shown against a closed background of walls, while all the characters on the left side, including the returnee, are given in free space, flooded with light pouring from the balcony doors and from the door in the back. This asymmetry of the composition, as in “The Arrest of the Propagandist,” enhances the dynamics of the image, which was especially important here when conveying the surprise of the date.
Repin builds the composition as a scene captured on the fly. The actions of all the characters are depicted at the very beginning: the revolutionary takes his first steps, the old woman just got up and wants to move towards him, the wife just turned around, the boy raised his head.
Everyone is caught unexpectedly, their experiences are still vague and uncertain. This is the first moment of meeting, recognition, when you still don’t believe your eyes, you still don’t fully realize what you saw. Another moment - and the meeting will take place, people will rush into each other's arms, there will be crying and laughter, kisses and exclamations. Repin keeps the audience in constant suspense. He, as in “Ivan the Terrible,” depicts a transitional moment as eternally lasting. Thanks to this, the solution is not immediately given ready-made, but, so to speak, is thought out by the viewer himself. The justification and blessing of the revolutionary receives an even more public and generally significant sound.
The figures of the returnee and the mother are especially dynamic. Directed directly at each other, they form the main psychological and formal node of the composition. The direction of the mother’s figure’s aspiration draws our gaze to the figure of the person entering and at the same time is the connecting link between his figure and the characters on the right side of the picture. The moved chair in the foreground emphasizes the unexpectedness of the event and introduces a moment of chance into the image. At the same time, it covers the floor in this place, not allowing the viewer to see the difference in the horizons of the two parts of the picture.
Repin sought in the composition of the painting, as well as in the poses and gestures of people taken by surprise, to create the illusion of the greatest natural chance. He deliberately cuts off the edges of the picture from the chair on the right and the chair on the left. But at the same time, the monumentality of the painting, its “historicity” required a pictorial structure of the composition. This is achieved by balancing the clearly visible horizontals and verticals revealed by the architecture of the room, the figures, and the furnishings. The asymmetrical, “random” in its instantaneous arrangement of people and objects turns out to be laid out in a strict linear structure, in a linear backbone, the structure of the composition.
The format of the painting is a slightly elongated rectangle, approaching a square. When comparing this format with the vertical format of the first version, it becomes clear that the horizontal lengthening is caused by the complication of the scene, in particular, the development of a secondary episode with children at the table, additional to the main scene. This format creates harmonious attitude between numerous figures and a relatively small, but seemingly large interior due to its elongation. It is not for nothing that the picture is visually perceived and especially remembered as square, and more vertically rather than horizontally oriented. Repin remarkably managed to combine in the film the important with the secondary, the significant with those little things that give the scene vitality, genre persuasiveness, which bring lyrical warmth to the sublimity of the overall interpretation of the event. Such, for example, is the image of a girl sitting at a table with her crooked legs dangling above the floor, the entire interior painted with love, taking us into the typical environment of an intelligent family of that time; such is the soft, gentle light summer day, pouring through the half-opened balcony door, on the glass of which drops of recently passed rain are still visible. The details of the setting, like the still life in “Princess Sophia” or the suitcase in “The Arrest of the Propagandist,” have a meaning that explains the plot. Thus, on the wall above the piano, it is not for nothing that portraits of Shevchenko and Nekrasov, so common in this setting, are depicted, and between them is an engraving from Steuben’s then popular painting “Golgotha”, furtherimage of the emperor Alexander II, killed by Narodnaya Volya, on deathbed- symbols of suffering and redemption, which the revolutionary intellectuals correlated with their mission.
Portrait of T. G. Shevchenko
Karl Steuben "On Calvary" (1841)
Portrait of N. A. Nekrasov
Konstantin Makovsky “Portrait of Alexander II on his deathbed” (1881, Tretyakov Gallery)
Details such as raindrops on glass testify to the artist’s powers of observation, the passion and interest with which he paints the picture, his purely professional artistic attention to his work, like the image of drops of wax on the cloth of the floor in “Princess Sophia.”
The canvas “They Didn’t Expect” is an outstanding painting by Repin in terms of the beauty and skill of its pictorial solution. It was painted in the open air, full of light and air, its light coloring gives it a softening drama and soft and bright lyricism. As in “The Procession in the Kursk Province,” and even, perhaps, to an even greater extent, this naturalness of lighting and plein air light tonality is generally subordinated to a certain general coloristic structure of the work, in which, along with the harmony of light bluish and greenish tones, there is a strong The contrasts of dark spots also sound.
The coloristic solution of the painting, to the same extent as its composition, represents such a successfully found, clear structure that it seems self-evident, directly natural. In fact, the natural here is ordered and brought into a certain system, all the more strict and harmonious because the apparent randomness of living reality fulfills the task of showing sublime morality, spiritual nobility and greatness of actions as natural life and feelings ordinary people. While maintaining their naturalness, they became as truly historical heroes in Repin’s portrayal as they were in the conventional exaltation of heroes historical painting of the past. Having found and shown the real heroes of his time, the artist made a big step forward in the development of both genre and historical painting. Or rather, he achieved their special fusion, which opened up the possibility of historical painting on modern themes.
Fedorov-Davydov A.A. I.E. Repin. M.: Art, 1989
Ernst Sapritsky "DON'T WAIT"
It must have been Sunday
The mother taught the children homework.
Suddenly the door swung open
And the bright-eyed wanderer enters.
Didn't you wait? Everyone is amazed
It was as if the air had been stirred up.
It’s not a hero who came from the war,
The convict returned home.
He's all anxiously tense,
He froze hesitantly:
Will he be forgiven by his wife?
Caused her a lot of grief
His arrest, then prison...
Oh, how she has aged.
But everything is illuminated by the sun.
Not yet evening. There will be happiness.
A fine day looks out the window.
God will seal the entry in the Book of Fates.
Ilya Efimovich Repin (1844-1930) - Russian artist, painter, master of portraits, historical and everyday scenes.
Probably, few paintings by classical artists are as popular among manufacturers of so-called “phototoads” as the painting “We Didn’t Expect” by Ilya Repin.
Given the abundance of humorous interpretations and plots, it is useful to recall what the original looks like and what the artist actually depicted on his canvas.
We didn’t wait - Ilya Efimovich Repin. 1884. Oil on canvas. 160.5x167.5
One of the most famous paintings Repin, thanks to school anthologies and textbooks, is known to every schoolchild. The plot of the work is the return of an exiled revolutionary home after imprisonment. The picture is filled with a thick and viscous atmosphere. The depicted moment allows you to study it from all angles. Everything is here - tense indecision, fear, admiration, joy, fear... The crosshairs of glances are the key to the plot.
The central figure is an exile. His eyes are especially expressive against the background of his haggard face; there is a question in them, tense expectation. At the same time, it is obvious that the exile did not break the revolutionary; he remained true to his views.
The eyes of all those present are directed towards the main character: from the openly frightened to the delighted ones of the children; full of restrained condemnation - the maid; the cook is curious.
The only figure in the picture whose eyes we do not see is interesting - this is a woman (mother?) in black. Her gaze is more likely to be guessed by her pose: tense and static.
One gets the feeling that in the next second the situation will be resolved: those present will rush to hug their suddenly returned relative, or, on the contrary, will turn away from him and ask him not to bother him anymore. The author leaves the resolution of the situation outside the scope of his work. We have a moment of decision before us...
Well, below the cut are the wittiest of the huge variety of “unexpected” characters based on the famous painting:
Painting by Russian artists
Painting by Ilya Efimovich Repin “We Didn’t Expect”, oil on canvas. In this picture, Repin’s psychological searches found the most perfect and deep expression. The idea for the work arose from the artist in the summer of 1883 while staying at his dacha in Martyshkino, near St. Petersburg. The rooms of this dacha are depicted in the picture. As the artists later wrote Alexander Benois, Mikhail Nesterov, Igor Grabar and Valentin Serov, it was this work by Repin that made the strongest and lasting impression on them.
The artist depicted in the work the unexpected return to the family of an exiled revolutionary. Repin's desire for a psychological solution to the topic forced him to choose the climax in the development of the action, to capture the pause that arose as a result of the sudden appearance of an absent person on the threshold of the room. long years a person dear to everyone, apparently having escaped from exile (as evidenced by both the clothes of the returnee - a tattered overcoat, worn-out boots - and the unexpectedness of his arrival). This momentary tetanus, which paralyzed the whole family, will pass, and feelings will rush out, pouring out into some noisy exclamations, impetuous movements, vanity. Repin does not depict all this, leaving the viewer to imagine the captured scene in his imagination.
There is a tense silence in the picture. The semantic and compositional node of the work is the duel of glances of two figures - a returning exile who, with anxious anticipation and aching tenderness, looks into the face of the one who has risen to meet him old woman, and this woman, who has already recognized her son with her mother’s heart, but is still, as it were, afraid to believe her inner feeling and therefore intensely peers at the strange stranger, looking for features dear to her in his aged, exhausted face.
The figure of the mother is depicted from the back, so that her face, with its complex expression, does not argue with the face of the exile, and does not interfere with the viewer’s first perception of the hero of the picture. But how expressive is this figure of a tall old woman in mourning attire, with a trembling hand barely touching the back of the chair, as if seeking support in it! The sharp profile of a mother's waxen face, White hair, covered with a black lace headdress, the sharply outlined silhouette of her once straight and stately figure, now bent by premature old age - everything speaks of the grief that has fallen on her shoulders.
All other family members, with shades of their feelings, their attitude to what is happening, complement the story of the tragedy that befell them: a timid girl, crouched down at the table and in fear, looking from under her brows at the stranger, not recognizing him (a detail indicating his long absence); a high school boy, completely overwhelmed by a single impulse and so shocked by the return of his father that it seems that tears are about to flow from his eyes; a young woman at the piano, whose pale, exhausted face is distorted by a complex expression of confusion, fear, and joy. The artist does not give a happy ending in the picture - it’s not about that, but about those contradictory and deep feelings that everyone experiences at the depicted moment and which reflect the long years of difficult life lived by everyone.
All family members, with the exception of the exile, are given against the background and surrounded by things (an easy chair, a table covered with a tablecloth, a piano) that create an atmosphere of family comfort. This family comfort, the familiar way of life of the family, which can be read in the just interrupted activities of each of those present, unites them all together. And only the returnee looks in this bright, clean, tidy room like a stranger from another world. This world is with him human suffering, disasters and humiliations burst into the room, expanding the scope of the image and reminding us of the cruel life that reigns outside this small “island”. The exile at the moment presented in the film is still confronting the whole family. His aloofness and the unusualness of his entire appearance emphasize the drama of what is happening. The returnee is given in the empty space of the room. He needs to take a few steps towards his loved ones, he needs to feel that they accepted him and are glad to meet him. The artist imperceptibly raises the horizon in the part of the room where the person entering is standing. The floorboards quickly and in a strong perspective contraction go into the depths - one gets the feeling that the soil is slipping away from under his feet. That is why the hero’s step in the picture is so uncertain and timid. Subtly felt psychological condition the returning exile finds a vivid visual expression.
Correctly capturing the psychological atmosphere of what is happening, Repin does not show in the picture the simple and open joy of the meeting, which would greatly simplify the content of the work. But with several unobtrusive moments (such as the boy’s enthusiastic exaltation, indicating that the family honors the memory of his father, as well as the portraits of Nekrasov and Shevchenko, fighters for the people’s happiness, hanging on the wall), the artist makes one feel that years of long waiting, worries and worries did not break these people, did not kill their faith in the justice of the cause to which a person close to them gave all his strength. In this theme of the hero’s moral justification is the high civic pathos of the work, its ethical meaning.
The seriousness and social significance of the problems that were raised by Repin forced him to solve the work on a large canvas, in forms cleared of elements of genre and everyday life. Modern theme received a historical interpretation and acquired great universal content.
“We Didn’t Expect” is one of Repin’s most open-air works, filled with light and air. The diffused light pouring through the open door of the balcony mutes the colors of the painting and at the same time gives them a special freshness and purity. This light, subtly harmonized range corresponds well to the emotional structure of the work and the purity of feelings of the people depicted.
Family members and various acquaintances posed for him: for the mother of a returned exile - the artist’s mother-in-law, E. D. Shevtsova, for his wife - V. I. Repina, the artist’s wife, and V. D. Stasov; the girl was painted from Vera Repina, the artist’s daughter, the boy from Seryozha Kostychev.
For the first time, he created a picture directly from life, without preliminary sketches, but still rewrote it many times, changing the images beyond recognition. Despite the fact that the artist had already firmly established himself in the northern capital, he continued to visit Moscow and enjoyed maintaining warm relations with Polenov, Surikov, Vasnetsov and, of course, Tretyakov.
One of most interesting works The Tretyakov Gallery is a painting by Ilya Efimovich Repin “We Didn’t Expect”. This picture is amazing interesting story, depicted on it, and for this reason I decided to write about it in my essay.
This painting is a national treasure and is in the collection of paintings at the Tretyakov Gallery. The painting was painted around 1884-1888. It depicts a man who has returned from political exile and distant foreign lands. If you look at the picture by color, the colors are harmonious. The picture is painted in soft warm undertones, which create the impression that this is a joyful day off that is just beginning. This is what the warm one says sunlight, which breaks through the window glass. At its core, the picture evokes good positive emotions. After all, what could be better than the return of a person who, in general, was no longer expected and did not think that he would return.
The artist succeeded very well in this moment, returning from exile, he cannot immediately recognize his relatives, because someone has aged, the children have grown up, and they cannot fully recognize him and believe their eyes. Is it him? Apparently, the artist intended to convey this silent pause before the joyful emotions of the meeting and even tears of joy. The fact that the hero of the picture returned unexpectedly is evidenced by the fact that he is unkemptly dressed, unshaven, it seems that he has not washed for a long time, and is very tired. Fatigue is visible on his face, he is tired of exile from the long journey home, and now he has finally returned!
The effect of surprise is visible on the faces of household members. It also indicates that he entered quite recently opened door, which the woman opened to him. On in the background we see a second dark figure of a woman who looks out in surprise and does not believe in his return. The effect of the surprise of the return can be seen on the face of another equally important figure in this picture. This woman who stood up from the table and clearly did not expect to see him. Although the artist depicted her in profile, a silent scene of surprise and disbelief in her own eyes is read in her eyes; she spread her arms out of surprise. A whisper of “is that you” can be read on her lips. From the history of the painting it is known that this elderly woman is the mother of a convict who returned from distant exile.
The children and the woman at the piano complement this picture very well. The woman recognized him, she was very happy about his return, judging by her joyful smile on her face. But the little girl, sitting in the corner next to the boy, looks at the returnee with some kind of distrust and misunderstanding; he, obviously, did not recognize him and did not yet understand who this unshaven wanderer in rags was. Well, I can’t help but mention little boy sitting in the corner, overjoyed to have their family member back. Overall the picture is not heavy and produces good impression and evokes joyful emotions if you have the lucky chance to visit Tretyakov Gallery, be sure to take a look at this picture.
“Repin’s painting “We Didn’t Expect”” - this expression has long become a meme.“Around the World” figured out who and what the characters, the author and the owner of the film were not really expecting.
Painting “We Didn’t Expect”
Canvas, oil. 160.5 x 167.5 cm
Years of creation: 1884–1888
Now kept in the State Tretyakov Gallery
One of the main surprises went to philanthropist Pavel Tretyakov. He bought a critically acclaimed painting for 7,000 rubles famous artist, visitors to the Tretyakov Gallery were eagerly awaiting her arrival from the XII exhibition of the Itinerants. The audience was also attracted by the topical plot: a political officer, released ahead of schedule, does not have time to warn his family about his release and stuns them with his appearance. In the early 1880s, populists convicted in the 1870s were released under an amnesty.
For two years the painting hung peacefully in the Tretyakov Gallery, but in 1887 a scandal broke out. When Tretyakov was away in Moscow, Repin visited the gallery with a box of paints and quickly copied the head of the person entering. The hero of the canvas, according to eyewitnesses, began to look younger, but the pride of a convinced revolutionary in his features was replaced by lack of will and confusion. Having seen the picture, Tretyakov was furious at Repin’s arbitrariness and, in addition, decided that it had been corrected poorly. He thought about dismissing the servants who looked after the gallery, who did not expect his anger: it never occurred to them to interfere with the artist, a longtime friend and adviser to the owner of the gallery.
And Repin was surprised by Tretyakov’s indignation, but when he next year I sent the picture for correction and finalized it. The result satisfied both of them. “This third exile is more of a wonderful, glorious Russian intellectual than a revolutionary,” wrote the classic art critic Igor Grabar. “The picture began to sing,” a satisfied Repin finally concluded.
1. Former prisoner. The historian Igor Erokhov determined that among the populists in the early 1880s, under the Tsar’s pardon, it was not a revolutionary who could be released early, but a sympathizer, from those who were present at the gatherings, but did not participate in the actions: serious conspirators of that period, if they were amnestied, were not before 1896. The hero could be convicted under Article 318 of the Code of Punishments for membership in a prohibited circle (punishable by imprisonment in a fortress, exile or hard labor). Repin's model was his friend, writer Vsevolod Garshin. Suffering from depression, Garshin committed suicide the year the picture was completed, in 1888.
2. Armyak. The hero’s peasant clothing, writes Erokhov, means that the man was serving his sentence in correctional prison companies far from home: those sent to the prison were not taken with the clothes in which they were taken, and upon release they were given rags purchased with donations from the Prison Trustee Society.
3. Old woman. The hero's mother, whom Repin wrote from his mother-in-law, Evgenia Shevtsova. “The one who enters,” writes art critic Tatyana Yudenkova, “sees only what the viewer does not see: the eyes of the mother.”
4. Lady. The hero's wife. Repin wrote it based on his wife Vera and the niece of the critic Stasov Varvara. Both mother and wife are in mourning - a sign that someone in the family has died recently, within a year.
5. Maid. The girl reluctantly lets a poorly dressed man into the room, not recognizing him as the head of the family: apparently, she was hired after his arrest.
6. Boy. The hero's son, a boy in a high school student's uniform, recognized his father as he entered and was delighted. Repin painted a boy from Seryozha Kostychev, the son of neighbors in the country, a future academician of the Russian Academy of Sciences, who studied plant respiration.
7. Girl. The hero's daughter, on the contrary, is frightened: she was probably too young when her father was arrested to remember him. Repin posed for him eldest daughter Faith.
8. Furniture.“The decor is sparse, country-style,” noted art critic Lazar Rosenthal. The artist painted the interior from the furnishings of a house in Martyshkino, which the Repins rented as a dacha, like many St. Petersburg families who settled for the summer outside the city near the Gulf of Finland.
9. Photography. It shows Alexander II, killed in 1881 by the Narodnaya Volya member Grinevitsky, in a coffin. Photography is a sign of the times, indicating the politicization of the plot of the picture. The assassination of the Tsar was a milestone for the populist movement: contrary to the hopes of the revolutionaries, the removal of the monarch did not cause progressive changes in Russian Empire. The 1880s became a time of reflection, when many became disillusioned with terror as a method and with society's readiness for change.
10. Portraits of Nikolai Nekrasov And Taras Shevchenko, writers and publicists whom the populists considered ideological inspirers, is a sign that members of the exile’s family share his beliefs.
11. “On Calvary” by Carl Steuben- a very popular reproduction and at the same time a hint of the suffering that the hero had to endure, and a kind of resurrection of him for his family after several years of imprisonment.
Artist
Ilya Repin
1844
- Born into the family of a military villager in the Kharkov province in Ukraine.
1864–1871
- Studied at the Academy of Arts in St. Petersburg.
1870–1873
- I painted a picture.
1872
- Married Vera Shevtsova, the daughter of an architect. The marriage produced three daughters and a son.
1874
- Started exhibiting with the Association of Traveling Art Exhibitions.
1876
- Wrote “Under escort. Along a dirty road,” the first painting on a revolutionary historical theme.
1880–1889,
1892
- Worked on the second, most famous version of the film “The Arrest of the Propagandist.”
1887
- Divorced from my wife.
1899
- I bought an estate, which I named “Penates”, and moved in with Natalia Nordman, a suffragette and writer (pseudonym - Severova).
1907–1911
- Worked on the painting “Manifestation of October 17, 1905.”
1930
- Died in “Penates” (then the estate was in Finland, now in Russia).
