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"Life, life! Why do painters pass it by?! The devil may take it, I shall quit all these resurrections of the dead, all these populist-ethnographic scenes, move to Saint Petersburg and begin painting pictures on the ... most pulsating reality that surrounds us, that is understandable to us, and that excites us more than all the events of the past." - Ilia Efimovich Repin
In rebellion against the Saint Petersburg Academy's promotion of typical ACADEMIC subject matter, in 1870 Repin and his colleagues formed a group called WANDERERS, so named because they aimed to show their works in traveling exhibitions. After 1880 Repin's important paintings were in response to political events, and he wrote the passage quoted above in a letter expressing his interest in the life of his times and the world around him. In They Did Not Expect Him (1884), the unexpected homecoming of a political exile takes his family, sitting in the parlor, by surprise. Repin's huge painting Ivan the Terrible Kills His Son (1885, more than 6 1/2 feet high and nearly 8 1/2 feet wide), while based on the past, served an anti-czarist sentiment with melodram:. nic pathos: The half-mad Ivan, having attacked in a rage, sits on the floor with his dying son in his arms. Politics aside, the picture created a public uproar because of its graphic rendition of gore and suffering. People fainted and riots threatened when it was exhibited, to the extent that mounted policemen were called in for crowd control. A professor of anatomy gave a lecture on the picture from a medical standpoint; he maintained that such profuse bleeding could not result from a head wound. As a portraitist, Repin painted Tolstoy and other important people of his time. He worked at Abramtsevo, the Russian artist colony, and, ironically, in 1894 returned to the Saint Petersburg Academy, where he became a professor of HISTORY PAINTING.
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