A picture of what space Ilya Repin. Description of the painting

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Ilya Repin was born in the family of a military settler. A penchant for drawing manifested itself in early childhood when the father's cousin brought to the Repins' house watercolor paints. The gifted teenager received his first painting lessons from painters hometown Chuguev: from the age of 11, he studied at the school of topographers for 2 years, after the abolition of the school - in the icon-painting workshop of Bunakov.

Having become a sought-after artist in the Chuguev area, at the age of 16 he received an offer to work in a nomadic icon-painting artel.

Having collected the money he earned, at the age of 19 Ilya went to St. Petersburg to enter the Academy of Arts. A month after admission, he receives the first numbers for his drawings.

Years of study brought Repin several awards, including a silver medal for the sketch "The Angel of Death beats all the first-born Egyptians" (1865), a small gold medal for the work "Job and his brothers" (1869) and a large gold medal for the painting "The Resurrection of the Daughter of Jairus" (1871).

In 1872, Ilya Efimovich married Vera Alekseevna Shevtsova, whom he had known since childhood.

In 1873, Repin experienced his first real success with the exhibited painting Barge Haulers on the Volga.

In the same year, when the daughter who was born grew up a little, the family of Repin, who had the right to travel abroad as a pensioner of the Academy, went on a trip to Europe. Having visited Vienna, Venice, Florence, Rome and Naples, the artist rented an apartment and studio in Paris.

In 1876, for the painting "Sadko" Repin received the title of academician.

Returning to Russia, Repin lived and worked in his native Chuguev for a year - from October 1876 to September 1877, then moved to Moscow, and in 1878 joined the Association of the Wanderers.

The heyday of Repin's work came in the 1880s. He creates a gallery of portraits of contemporaries, works as historical artist and master of domestic scenes.

In 1884, Repin received the first "state order": he received an offer to paint the painting "Reception of volost elders by Alexander III in the courtyard of the Petrovsky Palace in Moscow" (the second name is "Speech Alexander III to the volost foremen). The painting was completed in 1886.

Marriage with Vera Shevtsova lasted 15 years. Over the years, Vera gave birth to 4 children, was engaged in their upbringing, the salon lifestyle that Repin aspired to was a burden to her. They separated in 1887, dividing the children: the older ones stayed with their father, the younger ones with their mother. family drama strongly influenced state of mind artist...

Both during the years of marriage and after leaving the family, Repin painted many portraits of his loved ones.

In the spring of 1888, on the recommendation of Vasily Mate, Elizaveta Zvantseva came to Repin's studio to study painting. The artist was so carried away by his student that, in his own words, "art has gone somewhere." “I have never loved anyone so impermissibly, with such self-forgetfulness,” he admitted in one of his letters.

The relationship was so painful that Zvantseva even changed her teacher, moving into the workshop of Pavel Chistyakov. However, the meetings continued until, in 1891, Elizaveta Nikolaevna, who had not completed her studies at the Academy, left St. Petersburg.

And the second wife of Repin was the writer Natalya Borisovna Nordman, who wrote under the pseudonym Severova. At the end of 1900, the artist moved to her estate in Penata, located in Kuokkala, taking with him a portrait of Zvantseva, which hung in the artist's dining room until his last days.

In 1894, Repin, who had already received the title of professor of painting by that time, returned to the Academy of Arts as the head of the painting workshop, from 1898 to 1899 he was the rector of the academy.

With age, Repin had problems with his right hand: she ceased to obey the artist. Friends, worried about the health of Ilya Efimovich, began to hide brushes and pencils from him; Repin, not wanting to break away from his beloved work, began to write with his left hand. When the weakened, almost rigid fingers stopped holding the palette, the artist fastened the paint board with special straps, threw them over his neck and continued to work. IN last years he turned to biblical stories.

Repin's wife, Nordman, fell ill with tuberculosis and left her estate for one of the foreign hospitals. She died in 1914 in Locarno, having bequeathed that Ilya Efimovich became the owner of the estate for life. In the future, the Penates were to become the property of the Academy of Arts. According to the will of the artist's wife, a house-museum was to be created on the premises of the estate, "preserving the tastes and habits of Repin." After reviewing the text of the will, Repin transferred 40,000 rubles to the Academy's account, intended for organizing the future museum.

After 1918, when Kuokkala became a Finnish territory, Repin was cut off from Russia. In the 1920s, he became close to his Finnish colleagues, made considerable donations to local theaters and other cultural institutions - in particular, he gave large collection paintings to the Helsingfors Museum.

Communication with former friends was only by correspondence.

Further correspondence with friends testified to the extinction of Repin.

After his death, Repin's daughter, Vera Ilyinichna, became the keeper of the estate and the archive. The first Repin Museum, which appeared in 1940, did not last long: in 1944 the building was destroyed. The archive, taken out in advance from Kuokkala to the Academy of Arts, was not damaged. The surviving paintings, letters, things became the basis for the restoration of the estate. The design elements of the garden were recreated according to Repin's drawings and the memories of those who visited the Penates. The house-museum was opened in the summer of 1962.

The texture of the canvas, high-quality paints and large-format printing allow our reproductions of Ilya Repin to be as good as the original. The canvas will be stretched on a special stretcher, after which the picture can be framed in a baguette of your choice.

Ilya Efimovich Repin "What space!", 1903. Oil on canvas. 179 x 284.5, State Russian Museum, St. Petersburg, Russia.

One of the most controversial works of Ilya Repin is the painting “What space!”. And the contradiction here lies in the attitude of the public to the canvas: the artist succumbed to a fleeting mood, creating a picturesque emotional plot, but the critics burst into abuse, accusing Repin either of frivolously following the Western Impressionists, or even saw some revolutionary allegories in the work.
Society complained - the artist who created the monumental "Barge Haulers", "Ivan the Terrible" was carried away by some kind of romantic dates.

The artist's son and daughter are depicted in the high waves of the surf. As if bygone, not yet crucified souls - the personification of youth - are presented on the canvas. The fun and joy of life that overwhelm young people are quite consistent with the raging energy of the state of nature surrounding them - mighty waves of surf that overwhelm 2 defenseless figures.

But they smile, laugh, they are not embarrassed by the cold water and bad weather. The girl holds her hat so that it is not blown away by the wind and hides her face from its impulses, while the young man, on the contrary, has opened his overcoat and strives towards the elements with all the strength of youth.

The feeling of victory over fear, will, open element owns the viewer. The picture was painted in "Penates", far from the capital. So the version about Repin's premonition of social movements and mighty thunderstorms hovering over Russia gives priority to the theme of the joy of life, its closeness to the natural world, the exultation of youth. Happiness and warmth emanates from the picture, as well as from all Repin's portrait paintings dedicated to his family.

In the manner of "love-enmity" characteristic of the artist, he expresses his attitude towards the new generation.

The water element is masterfully depicted - greenish-transparent on foreground, it fades into stark blue in the back. Throwing up water splashes and white foam, the water appears as a force, unrestrained and tireless. The Gulf of Finland and the Neva banks inspired the artist.

In the midst of a noisy storm, arms outstretched,

There is a brave guy shouting to his girlfriend:

“Look, what a power! Space and freedom!

And even in anger, nature is beautiful!

Not every date will dare to arrange

At that hour and in that place where the storm cannot sleep.

Lovers don't care at all

Where they are together, and the place is great!

(N. Aleshkova)

The painter's technique here is very close to impressionistic, however, such an uneven stroke only contributed to the realism of the embodiment. Few would argue that in depicting the sea, Repin is quite worthy of the most famous marine painter Aivazovsky. Texture, character, dynamics - the element is very emotional and truthful. The stronger the impression of the reaction of brave young people to it.

To hell with all the gossip about hidden meanings the picture was summed up by the critic Stasov, who saw in the work the mighty power of Russian youth, ready to resist and meet with a smile all the hardships and possible troubles.

The artist's son and daughter are depicted in the high waves of the surf. As if bygone, not yet crucified souls - the personification of youth - are presented on the canvas. The fun and joy of life that overwhelm young people are quite consistent with the raging energy of the state of nature surrounding them - mighty waves of surf that overwhelm 2 defenseless figures.

But they smile, laugh, they are not embarrassed by the cold water and bad weather. The girl holds her hat so that it is not blown away by the wind and hides her face from its impulses, while the young man, on the contrary, has opened his overcoat and strives towards the elements with all the strength of youth.

The feeling of victory over fear, will, open element owns the viewer. The picture was painted in "Penates", far from the capital. So the version about Repin's premonition of social movements and mighty thunderstorms hovering over Russia gives priority to the theme of the joy of life, its closeness to the natural world, the exultation of youth. Happiness and warmth emanates from the picture, as well as from all Repin's portrait paintings dedicated to his family.

In the manner of "love-enmity" characteristic of the artist, he expresses his attitude towards the new generation. Romantic elation and joyful hopes for young people - this is how the critic V. Stasov expressed the originality of the images of a young man and a girl.

The water element is masterfully depicted - greenish-transparent in the foreground, it turns into a harsh blue in the background. Throwing up water splashes and white foam, the water appears as a force, unrestrained and tireless. The Gulf of Finland and the Neva banks inspired the artist.

In the midst of a noisy storm, arms outstretched,

There is a brave guy shouting to his girlfriend:

“Look, what a power! Space and freedom!

And even in anger, nature is beautiful!

Not every date will dare to arrange

At that hour and in that place where the storm cannot sleep.

Lovers don't care at all

Where they are together, and the place is great!

A feeling of audacity, youth, faith in life is permeated by the canvas “What space!” written in Penates.

The girl and the student were caught on the shore by the sea tide, which turned into a squall, and they cheerfully get out of the waves. The girl laughs, holding her hat from strong wind, and the student, opening his overcoat and opening his chest to the wind, says something wonderful to her. Maybe read poetry?

This picture, written in 1903, is one of the highest achievements of world lyrical painting - for a long time it was not accepted by criticism. That's what the old man-Repin does: he depicts scenes of the young

Goodbye! Someone else saw the light lining of an open student overcoat - oh, yes, this is a “white lining” (which in the language of that time meant “rich”, “indifferent to politics”, “student barich”).

No, Repin's plot is not in itself a meeting of a young couple. The feeling of will, open element, joyful victory over fear is conveyed by the master. As in the song: "There will be a storm, we will argue and we will fight with it." The happiness of the struggle, the hope of overcoming, was expressed here by Ilya Efimovich. And when! In 1903 - on the eve of the first Russian revolution. Thunderstorms were already hovering over Russia.

Trust in life, joy and the world of nature was written by Repin in a picture whose plot flashed to him once from the height of the Kuokkala sand dunes.

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What space - Ilya Efimovich Repin. 1903. Oil on canvas. 179 x 284.5

One of the most controversial works of Ilya Repin is the painting “What space!”. And the contradiction here lies in the attitude of the public to the canvas: the artist succumbed to a fleeting mood, creating a picturesque emotional plot, but the critics burst into abuse, accusing Repin of either frivolously following the Western Impressionists, or even completely saw some revolutionary allegories in the work. The society complained - the artist who created the monumental ones got carried away with some kind of romantic dates.

Meanwhile, the work is devoid of subtexts and hidden meanings. The picture was painted on the painter's estate - in "Penates". The main characters are a girl and a student caught off guard by a sudden storm. The author masterfully conveyed the raging waves that spill over with white crests, exposing muddy green waters seas.

But where is the fear from the raging elements? Where is the anxiety? She is not! The girl bent under powerful gusts of wind, diligently holding her hat, ready to fall off her head, but she smiles at the occasion. And the young man opened the flaps of his overcoat, spread his arms towards the elements, turning his head towards his companion. He rejoices, he is free! Perhaps he is reciting some verses, or maybe something grandiloquent just comes out of his mouth.

The painter's technique here is really close to impressionistic, however, such an uneven stroke only contributed to the realism of the embodiment. Few will argue that in the depiction of the sea, Repin is quite worthy of the most famous marine painter. Texture, character, dynamics - the element is very emotional and truthful. The stronger the impression of the reaction of brave young people to it.

The critic Stasov summed up all the gossip about the hidden meanings of the picture, who saw in the work the mighty power of Russian youth, ready to resist and meet with a smile all the hardships and possible troubles.