Works of art often become particularly popular if they are legends about them or if they unexpectedly turn out to be not what they seem at first glance. “Kultura.RF” reveals the secrets of famous – and not very – Russian paintings.
“The Nun” by Ilya Repin
A young girl in strict monastic clothes looks at the viewer thoughtfully from a portrait. The image is classic and familiar – he probably would not have aroused interest among art historians if it were not for the memoirs of Lyudmila Alekseevna Shevtsova-Spore – the niece of Repin’s wife. They found a curious story.
Sophia Repina, nee Shevtsova, posed for the “Nun” Ilya Repina. Continue reading
The culture of the Soviet and post-Soviet period is a bright large-scale coil of Russian heritage. The events of 1917 became the reporting point in the development of a new way of life, the formation of a new way of thinking. The mood of society k.XIX- n.XX centuries. resulted in the October Revolution, a turning point in the history of the country. Now she was waiting for a new future with its ideals and goals. Art, which in a sense is a mirror of the epoch, has also become a tool for the realization of the tenets of the new regime. Unlike other types of artistic creativity, painting, which forms and forms the thought of a person, penetrated the consciousness of people in the most accurate and direct way. Continue reading
Konstantin Somov is one of the representatives of Russian symbolism. The development of the artist’s style was largely influenced by his studies at the Paris-based Colorassi studio (1897–1899); it was then that he mastered the lessons of modern and French rococo. The scenes of his canvases resemble gallant balls and masquerades, which were characteristic of the bygone XVIII century. Modernity in his works is mystically connected with the previous epoch, the genre scenes of his canvases are reminiscences of the last century, his characters vaguely resemble puppet Watteau, Boucher and Fragonard, but unlike their predecessors, the artist endows those depicted more mystical ghostly than elegant elegance. V.A. Lenyashin rightly noted that the sources of Somov “beyond the borders of the past days” are much deeper, more blunt: Botticelli, Watteau, Hoffmann.
The ghostly transparent eroticism, without which Somov did not think of art, then permeates the irreversibly spicy pages of the Book of the Marquise, appears about (like the Casanova doll) in the naively challenging and mechanically outspoken image of Columbine. Continue reading