Also, Vasnetsov relied on a portrayal of Tsar on the contemporary historian Vasily Kliuchevskoi’s research. Kliuchevskoi collected historically accurate material directly relating Tsar Ivan the Terrible from XVI century and convincingly presented to Vasnetsov his findings. In the portrait, the artist gave a very traditional Russian palace backdrop. Vasnetsov painted rounded opening stressed those classically consistent design royal chambers. Streets of Moscow are seen through a narrow opening of the window. Ivan the Terrible wears an embroidered coat with fur collar, in full royal attire of gilded brocade with floral ornaments, inlaid in boots and hat, standing on the steps with him laid on carpet holding a staff in his left hand, menacing and arrogant looking at viewer. His leg is about to come on the carpet with the double-headed eagle. His patterned overcoat merges with ornament walls. The first painting I would like to present is Ivan the Terrible. The painting was painted by one of the artists that worked in the Church of the Savior on Spilled Blood in 1897, Viktor Vasnetsov. According to L. A. Efremova’s book Vasnetsov, the idea of painting Ivan the Terrible had been on Vasnetsov’s mind since 1878 and at the same time he began working on the scenic design of the Vladimir Cathedral in Kiev and began working in Moscow at the same time. Moscow at that time was not seen a place of an artistic inspiration, therefore, artists usually ignored using Moscow for their artistic “adventure”, so Vasnetsov had an idea of using Kremlin and Moscow as a foundation of his upcoming art pieces. According to L.A. Efremova on page 45, she states “Upon his (Vasnetsov’s) arrival to Moscow, he had spent days walking through the historical sites of the Kremlin, visited the royal chambers mentally imagining that he was the king of the most formidable of which he had heard so worth somewhere near and sidelong glances at him, because not so long ago, he walked here in these chambers and awesomely banged his stick and loudly proclaimed his orders, surrounded by many of the boyars 6 and ambassadors.” Vasnetsov spent a few weeks looking through Ivan the Terrible’s archives studying his mannerisms and his personality traits. L. A. Efremova writes that Vasnetsov kept a diary where he wrote “Wandering around the Kremlin, I kind of saw Grozny. In the narrow corridors and stairwells transitions St. Basil heard his footsteps tread, beats his staff, his powerful voice.” Many writers and artists had depicted Ivan the Terrible as a despot, a cruel and a merciless man. Tt was important to stress Tsar Ivan’s a contradictory nature. He saw Ivan the Terrible a crafty and clever, wise and terrible, lonely and a majestic man. He leans on his staff, but he pauses, as if listening to something, looks smart, watchful, suspicious eyes, but not at the viewer, as it were, through him. His facial expression makes a strong impression. Ivan the Terrible is depicted in thought, alone with himself. Tsar Ivan the Terrible is probably the most famous and iconic well known historical figure that is 7 associated with Russia. Russian people had suffered under his rule and the rule of other tsars that followed Ivan the Terrible. |
One of the most famous Russian paintings that portray people’s suffering yet thriving in harsh conditions is the Barge Haulers on the Volga by realism genre painter, Ilya Repin. This painting was a testament to his creative spiritual maturity. In 1870 Repin returned to Volga River more than three times observing the work and life of the future heroes in the Barge Haulers on the Volga. In one of the letters to Stasov, Repin wrote that the theme of the painting was born under the impression seen on the Neva and Volga River’s scenes: festively dressed gentlemen strolling and haulers in the next strap, pulling the barge. The painting was completed in 1873. There are eleven characters, all as one – the poor and disadvantaged, but each one had a personality and a character. One of the barge haulers is Burlak Kanin. He is the leader of the team. This elderly person embodies the best features of the Russian peasant: serenity, wisdom, perseverance. Next to him – bearded incarnation of primal power, and Ilka, the sailor with a fierce gaze.
|
I am captivated by a controversial to the time of French Revolution painting by Jean-Louis David, the Death of Marat. David and Marat were friends and supporters of the French Revolution. As soon as David heard the news of the murder of a great revolutionary friend, David ran to see his fallen friend, Marat, for the last time. David saw in Marat as a modern hero – martyr. In the 12 painting David accurately painted the real scene of the murder. Marat was in the bath and his death came suddenly. He was murdered by a member of an opposing political party, Charlotte Corday. Her name is on the piece of paper that Jean-Paul Marat holds inhis hands. Jean-Paul Marat suffered a skin condition that had affected him throughout his life. In the painting we do not see this condition, but instead, Marat’s skin is flawless. Marat and Jesus have some similarities. Marat’s arm falls almost in the same gesture as Jesus’arm position in the Descent From The Cross painting by Van der Wayden. Both are icons of martyrdom for different reasons. Another interesting element in the painting is the light. It is almost impossible where the light is coming from which almost elevates Marat to be seen as a martyr. Captivating dark and warm tones are powerfully wrapping the painting. Well saturated rich colors of warm brownish, white and green colors draw a viewer closer to a perfectly peaceful facial expression of Marat. After the painting was completed, David exclaimed at the convention “Citizens, the people were again calling for their friend; their desolate voice was heard: David, take up your brushes.., avenge Marat… I heard the voice of the people. I obeyed.” Long after the death of David, David became an icon of French national pride and identity.
|