Description of the artwork «Ivan the terrible and his son Ivan on 16 November » Repin's painting, showing how Ivan the terrible kills his son, was exhibited at the XIII exhibition of the Wanderers. Excited audience literally observed the exhibition building, near which all day on duty, a detachment of gendarmes "just in case". Further history revealed that the "event" will take place. The plot of the famous episode from the life of Czar Ivan the terrible. In a fit of anger he killed his son.
The name specified is the exact date of the incident. This saw the reference to another exact date of our time, the murder happened years later. These are historical events that pushed the Repin painting. There was another incentive, less well-known.
In , Repin traveled to Europe in Spain and watched a bullfight. He was struck by this bloody attraction: "Misery, living death, murder and blood are When he returned, he began to write a very bloody scene with Ivan the Terrible and his son. If the majority of the paintings Repin worked in his Studio, for the creation of this specially equipped separate room.
Moreover, he created patterns for costumes. Ivan the terrible he saw in the way accidentally met in the market laborer, and the role of the king's son posed for Vsevolod Garshin — it is Repin depicted in the image returned from the exile of the revolutionary in the picture "Unexpected". As in the work before us is again the time of maximum intensity of the feelings, but the feelings are completely different plan.
We see a gloomy chamber, with red carpets. Left — inverted in the struggle of the throne, beside the dying Prince was lying abandoned wand — Ivan the terrible just smashed the head of his son. In the center of the illuminated two figures. Ivan the terrible holding his son in his dilated eyes — the horror, despair and madness. The face of the Prince almost iconographic. It is humility, forgiveness, parents and endless love. From his temple hlyschet blood, the father attempts to stop the flow hopeless.
Work on the picture has been hard. The artist admitted: "The minute I was getting scared. I turned away from this picture, hid it. My friends, it has produced the same impression. But something drove me to this picture, and I again worked on it". It was terrible not only to him.
Emperor Alexander III personally banned her to the show. Collector Pavel Tretyakov immediately appreciated masterpiece and bought the painting, but kept her in a separate room and were not allowed to exhibit. Three months later, thanks to the intercession of the approximate to the Emperor of the artist Alexey Bogolyubov the ban was lifted.
And on January 16, , the old believers, Ivan Balashov was so impressed with the painting by Repin that Shouting "enough death, enough blood! The Titanic efforts of the Repin and Bogolyubov painting was restored. Balashov was recognised as mentally ill.
Another dark spot in the history of "Ivan the Terrible" — the Keeper of the Tretyakov gallery Georgy Khruslov after this incident committed suicide. Rumor attributes the suicide to the shock of vandalism, but documentary evidence of this version does not. Khruslov just excused myself for half an hour and not leaving any notes and suicide notes, in Sokolniki jumped under a train. One hundred years later, in , a group of Orthodox activists created a petition calling to remove the painting from the Tretyakov gallery, because it "it offends the Patriotic feelings of the Russian people".
Boris Godunov wanted to come to his aid but the Tsar inflicted several wounds to him with the point of his scepter and struck the Tsarevich with it on the head. He then fell to the ground, spilling his blood. He implored the mercy of God and the forgiveness of his son.
Ivan Kramskoi, a celebrated Russian artist, could barely contain his emotions when describing this painting:. This most phenomenal aspect, an extremely difficult one to project, is achieved by means of only two figures. The father has struck his own son in the temple with the staff! A moment, and the father cries out in horror, dashes to the son and has seized him! Squatting on the floor, he raises him upon his knees, and firmly, firmly presses with one hand the wound on the temple but blood flows in a gush between the finger slits , and with the other hand across the waist, presses him to his breast, and firmly, firmly kisses the head of this poor son unusually appealing , and he roars positively roars from horror, in the helplessness of his condition.
While throwing himself upon the son, tearing at his own head, the father stains the upper half of his face with blood — a touch of Shakespearean tragicomedy. This animal shouts from horror — and the sweet, precious son, resignedly dying, with his beautiful eyes and remarkably attractive mouth, his heavy breathing, his helpless hands. Oh, my God, could one quickly, quickly help! A person mortally wounded will certainly lose a great deal of blood. But how it is painted, God, how it is painted!
Indeed, can you imagine a pool of blood not being noticed, not affecting you because of the frightful, highly expressive grief of the father, and his loud shriek? And in his hands his son, his son whom he has murdered. Several decades of deep political unrest followed, before the Romanovs set shop. They too, were gone eventually, three centuries later.
Why the blood? Down with blood! The temporary destruction of the painting — later restored by Repin himself — reverberated throughout the Russian society, prompting critics like Maksimilian Voloshin to blame the painting itself for driving people to violence. As far-fetched as that sounds, and as easy as it is to blame art for everything gone wrong in the world, Voloshin raised an interesting point.
Where does it end? The Russian artist shows us where violence begins and with whom — with our leaders. And, more importantly, like Kramskoi remarked, the grief-stricken face of Ivan the Terrible, overwhelmed with the enormity of the moment, is enough to make the gory details fade away. It offers redemption through regret. Amazing breakdown that goes beyond the painting itself. Keep writing. Keep sharing. Like Like. You are commenting using your WordPress.
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