In which museum is the painting of Repin sailed. Repin's paintings have sailed

The expression “Repin’s painting “Sailed” has become a real idiom that characterizes a stalemate. The picture, which has become part of folklore, really exists. But Ilya Repin has nothing to do with her.

The painting, which popular rumor ascribes to Repin, was created by the artist Lev Grigorievich Solovyov (1839-1919). The painting is called “Monks. We didn't go there." The picture was painted in the 1870s, and until 1938 it entered the Sumy Art Museum.

In the 1930s, the painting hung at a museum exhibition next to paintings by Ilya Repin, and visitors decided that this painting also belongs to the great master. And then they also assigned a sort of “folk” name - “Sailed”.

The plot of Solovyov's painting is based on the bathing scene. Someone else is undressing on the shore, someone is already in the water. Several women in the painting, beautiful in their nakedness, enter the water. The central figures of the picture are monks dumbfounded by an unexpected meeting, whose boat was brought to the bathers by an insidious current.

The young monk froze with oars in his hands, not knowing how to react. The elderly shepherd smiles - “They say they have sailed!” The artist miraculously managed to convey emotions and amazement on the faces of the participants in this meeting.

Lev Solovyov, an artist from Voronezh, is little known to a wide range of art lovers. According to the information that came about him, he was a modest, industrious, philosophical man. He liked to paint everyday scenes from the life of ordinary people and landscapes.

Very few works of this artist have survived to our time: several sketches in the Russian Museum, two paintings in the gallery of Ostrogozhsk and a genre painting "Shoemakers" in the Tretyakov Gallery.

Expression "Repin's painting "Sailed" has become a real idiom that characterizes a stalemate. The picture, which has become part of folklore, really exists. But Ilya Repin has nothing to do with her.
The painting, which popular rumor ascribes to Repin, was created by the artist Lev Grigorievich Solovyov (1839-1919). The painting is called “Monks. We didn't go there." The picture was painted in the 1870s, and until 1938 it entered the Sumy Art Museum.

“Monks. We didn’t stop there.” L. Solovyov

The central figures of the painting

Lev Solovyov and his painting "Shoemakers"

Have you ever heard that there is a painting by Repin "Sailed"? Perhaps, because the great artist created many genre paintings. If there is a painting “They didn’t wait”, then why not be a painting under a similar “plot” name? To create such a canvas, one must have an adventurous temperament and a remarkable sense of humor. However, those who carefully examined the masterpieces of the master will not argue with the fact that literally every painting by Repin opens up to us a multifaceted and fascinating world.

"Sailed". Description of the painting masterpiece

A small river winds along the meadows behind the village, fog creeps over it. In the distance, the domes of a white-walled church appear, horses graze. In the foreground of the picture, life is in full swing. Near the shore, naked women of all ages are splashing in the water, some blissfully basking in warm streams, others busily washing themselves. On the sloping shore, clothes are thrown, buckets with a yoke, a girl undresses, an old woman takes off her clothes with her back to her. Between them, looking at the water, two gossips gossip about something. Two children in underwear are looking at us fervently.

And suddenly, out of dense fog, a boat with monks floats into the very center of the nude scene. The peasant women recoil, the blacks stiffen with oars, and only the fat priest in the middle of the boat does not seem at all embarrassed: he stands with his hands behind his back and hides in a sly smile. The culminating moment is written by the author superbly: shock, surprise, amazement, and at the same time laughter ready to break out from the incident. Well, why not Repin? "Sailed!" we smile, amused by the comic effect of the situation. Only this picture does not belong to Ilya Efimovich at all. Where does the misconception that this is a painting by Repin come from?

“Sailed” or “We didn’t stop there”?

The canvas with the above plot, exhibited in the museum of the city of Sumy in Ukraine, belongs to the brush of Lev Grigorievich Solovyov. The Russian artist, who did not receive a professional education (he was a free student of the Academy of Arts), painted talented canvases and icons. Being a native of peasants, the painter willingly illustrated the works of Nekrasov.

A picture called "Monks. We didn’t go there” Solovyov created in the 70s of the 19th century. Repin's canvases flaunted at the exposition next to her. Confusion in the public mind arose, perhaps because there is some similarity in understanding the plot collision, in relation to the characters and in the pictorial manner of the two artists. So there was a legend passed from mouth to mouth called “Repin’s painting “Sailed!”. This expression has already become a phraseological unit.

Another myth

But the collective mind does not calm down and continues to look for a work in the works of the famous painter that can be designated by this name. And now, some "experts" report that Repin's painting "They Sailed" is the painting "Tramp" created by Ilya Efimovich in 1894. Homeless." It is exhibited in the Odessa Art Museum.

What do tramps dream about?

In the foreground we see two homeless people. The older one thought sadly, chilly hides his hands in a long black caftan. Next to his bent figure lies, lordly leaning on his arm, a young "ragamuffin" in dirty, tattered clothes. The bright azure of water shining in the sun is crossed out diagonally by a shabby stone border. With a blindingly clear expanse of water and a white sail in the center, the miserable dark outlines of tramps compete. At the same time, the romance of the landscape has something in common with the serene expression on the face of a young tramp who seems to find his happiness in vagrancy. The contrast, in which there is, however, a certain parallel, is what this picture of Repin is fraught with. Did these two sail on a random barge and camp right there on the pier, or are they waiting for a passing barge to go to other places? Together with the characters, we find ourselves in a stopped moment of waiting and reflect on the vicissitudes of life.

"Water" paintings by Ilya Repin

The master created more than one work in which events are played out on the shore, and about which one could say: "This is Repin's painting" Sailed ". Photos of reproductions of the paintings of the great artist are easy to find in many printed publications. are not included in this category, but, for example, “The End of the Black Sea Freemen” (the canvas was created in the 1900s) fully corresponds to this name.

The plot of the picture can be considered a continuation of the theme to which the canvas “Cossacks on the Black Sea” created in the same years is dedicated. It depicts the Cossacks caught in a storm after the attack on the Turkish coast. Confusion, heroism, dramatic intensity are present on the canvas. And the canvas “The End of the Black Sea Freemen” shows captive Cossacks sitting on the shores of a stormy sea and doomed to droop under the evil eyes and guns of Turkish guards.

The Tretyakov Gallery opens the main exhibition of the year: the anniversary exposition of Ilya Repin. "Table" presents several works of the artist, which can not be missed

Repin's exhibition has been in preparation for several years - imagine how much correspondence and approvals are needed to put together canvases from 26 museums and private collections. The result was an unprecedented global event.

"Barge Haulers on the Volga"

This is the earliest work of Repin, who painted barge haulers while still a student at the Academy of Arts, when young people were supposed to write on biblical subjects. The public saw the painting in 1873 in St. Petersburg at an art exhibition of paintings and sculptures intended to be sent to Vienna for the World Exhibition. Reviews were mixed. For example, Fyodor Dostoevsky enthusiastically exclaimed: “You can’t help but love them, these defenseless ones, you can’t leave without loving them. It is impossible not to think that he owes, really owes to the people... After all, this burlatskaya "party" will later be dreamed of in a dream, in fifteen years it will be remembered! And if they weren’t so natural, innocent and simple, they wouldn’t make an impression and wouldn’t make such a picture.

But academic circles called the picture "the greatest profanation of art", "the embodiment of skinny ideas transferred from newspaper articles."

"Self-portrait"

1878

This is Repin's earliest known pictorial self-portrait, written after the young artist received the highest award of the Academy of Arts - the Big Gold Medal, which entitles him to a free trip abroad to continue his studies. Returning home, Repin wanted to settle in Moscow, where he joined the Association of Traveling Art Exhibitions. According to the rules, admission to the Association was carried out after the candidates had passed the “exhibitor experience”, however, for the sake of Repin, an exception was made: he was accepted, neglecting the formalities, in February 1878. Especially for the 6th Traveling Exhibition, Ilya Repin painted his portrait.

"Princess Sophia"

1879

Repin immediately became a frequent guest of art meetings in the house of the millionaire Savva Mamontov in Moscow and the Abramtsevo estate near Moscow, where artists, musicians and theater workers gathered. Wanting to please his Moscow friends, Repin paints a portrait of the Moscow heroine herself, Princess Sofya Alekseevna (the full author's title of the painting is “The Ruler Princess Sofya Alekseevna a year after her imprisonment in the Novodevichy Convent during the execution of archers and the torture of all her servants in 1698”). Mother Valentina Serova Valentina Semyonovna, sister of the composer Pavel Blaramberg Elena Apreleva and a certain dressmaker posed for Sophia Repin, and Repin's wife Vera Alekseevna sewed a dress with her own hands according to sketches brought from the Armory.

However, criticism took the picture more than cool. They wrote that the image of Sophia turned out to be static, that instead of the tragic figure of the princess, the audience saw on the canvas "some blurry woman who took up all the free space on the canvas." Almost the only one of the close people who supported Repin was Kramskoy, who called "Sophia" a historical picture.

"Religious procession in the Kursk province"

1883

In the summer of 1881, Repin made a special trip to the Kursk province - to the Korennaya Hermitage - to attend a solemn religious procession - the carrying of a miraculous icon.

Two years later, the painting was presented at the 11th exhibition of the Association of Traveling Art Exhibitions. The critic and painter Igor Grabar wrote in his monograph about Repin: “The Religious Procession in the Kursk Province is Repin’s most mature and successful work of all that he had created before. No wonder he worked on it for so long. Each protagonist of the picture here is seen in life, sharply characterized and typified: not only in the foreground, but also there, in the distance, where the already rising street dust erases the clarity of contours, forms and expression - and there this crowd is not leveled, like backgrounds. of all the pictures depicting the crowd, and there it lives, breathes, moves, acts. You can talk about individual characters - main and secondary - for hours, because the more you peer into them, the more you are amazed at their diversity, non-stiltedness and accuracy with which the artist snatched them from life ... "

"We didn't expect"

1884

In 1884, Repin showed the painting "They Didn't Wait" at the 12th Traveling Exhibition, and it immediately found itself at the center of artistic controversy. Contemporaries wondered: who is depicted in the picture. Critic Stasov called the returned Messiah, and compared the picture with Ivanov's famous painting "The Appearance of Christ to the People." His opponents called the hero of the picture the prodigal son and recalled the gospel parable.

Repin himself did not know the answer to this question, who redrawn the main character more than 12 times, trying to catch the facial expression that close people have at the moment of a sudden and long-awaited meeting. Even when the canvas was added to the private collection of paintings by the merchant Pavel Tretyakov, Ilya Efimovich, secretly from the owner of the apartment, secretly made his way into the hall, where he worked until dawn, until he achieved that emotional movement that he had been looking for for a long time.

"The Cossacks write a letter to the Turkish Sultan"

1891

Repin worked on the theme "The Cossacks write a letter to the Turkish Sultan" for almost 12 years. He either changed the figures, deleting some and adding others, then threw the canvas in the workshop, as if forgetting about it. But then he always returned to his idea.

“If you could see all the metamorphoses that took place here in both corners of the picture ... what was not there! he wrote in one of his letters. - There was also a horse's muzzle; there was also a back in a shirt; there was a laughing one - a magnificent figure, - everything did not satisfy ... Every spot, color, line is necessary - so that together they express the general mood of the plot and would be consistent and would characterize any subject in the picture.

In 1891, the Cossacks were shown for the first time at Repin's solo exhibition. After a resounding success at several exhibitions in Russia and abroad, "The Cossacks" in the same year visited Chicago, Budapest, Munich and Stockholm, the painting was bought by Emperor Alexander III himself. Moreover, the tsar paid 35 thousand rubles for it - gigantic money at that time.

"Anniversary meeting of the State Council"

1901

This is the largest Russian painting ever painted: 9 meters wide, 4 meters high.

Repin received the order in April 1901. By that time, he already had serious health problems; the artist could not have mastered such a scale in such a short time alone, therefore he demanded assistants. Repin's assistants were his students Ivan Kulikov and Boris Kustodiev. The first painted the left side of the picture, the second - the right. Repin took over the center.

They started work a few days before the anniversary, starting with the interior. On the day of the ceremonial meeting, in addition to drawing supplies, the painter brought an easel and a camera into the hall.

Portrait of N.B. Nordman-Severovoy

Natalia Nordman is Repin's civil wife. Natalya Borisovna promoted the ideas of equal rights for women, marriage reform, emancipation of servants, and vegetarianism. They met Repin in 1891, and soon the artist became interested in an outstanding young woman. In her name, he bought a manor not far from St. Petersburg, called Nordman "Penates". After completing work on the painting "The Ceremonial Meeting of the State Council ..." Repin finally left Petersburg and began to live in the Penates all year round. Repin and Nordman spent the autumn months of 1905 in the southern foothills of the Alps on Lake Garda in Italy. By the way, the very composition of the portrait and the general color scheme speak of how interested Repin was in modern trends in European painting.

Portrait of P.A. Stolypin

1910

The portrait was painted by order of the Saratov City Duma in honor of the election of Pyotr Arkadyevich Stolypin, Minister of the Interior and Chairman of the Council of Ministers, to the post of honorary citizen of the city.

For the ceremonial portrait, which was supposed to be placed in the hall of the City Duma, Repin chose an unofficial image of a politician - in civilian clothes (not in a uniform), in a free pose, reading a newspaper. The main focus of the portrait is the disturbing bright red background. Later, in a letter to Chukovsky, he explained that he had painted Stolypin so specifically - "on a volcano."

"Gopak. Dance of the Zaporizhzhya Cossacks»

1926

At the age of 82, Repin, who had by that time been in exile in Finland, began his last great work, Hopak. Dance of the Zaporizhzhya Cossacks”, the idea of which he described as “cheerful and lively”.

"Gopak" is a landmark canvas for the late work of the artist, the completion of the theme of "the last Zaporizhzhya Sich", which worried him so much throughout his life. Repin recalled beautiful places familiar to him from a young age, where, in his words, “songs, Cossack songs, did not stop, and in the evening there was always a hopak dance with jumping high on knitting needles ... Vociferous girls ... Sing all night, and when do they sleep? After all, they get up early for work ... "

Repin's painting "Sailed" - probably heard this expression. In fact, Repin does not have such a picture. There is a painting by Lev Solovyov "Monks. We drove in the wrong place" (1870s), which is really very funny. The monks on a boat mistakenly sailed down the river to the beach to the naked bathers. The current carries them straight towards them, the monks and the naked women froze in complete amazement, looking at each other.

Lev Solovyov. "Monks. We didn't go there." 1870s

Lev Solovyov - Voronezh artist of the 19th and early 20th century, not particularly famous. If it were not for the eminent master, who was credited with his work, the masterpiece with the monks would hardly have been appreciated. Glorified Repin Solovyov, without wanting it.

There was a similar story with the picture "Again a deuce", remember this one in school textbooks? It was painted in 1952 by Fyodor Reshetnikov, a major master of socialist realism. And also the author of various obsessive pictures about Stalin ("The Great Oath", etc.). The painting "Again deuce" is good, of course, but here is its "original" of the 19th century:

Dmitry Zhukov. "Failed out." 1895

The plot is almost the same: an upset mother, a devoted dog, a deuce. It's all sad here. Mother - apparently a widow, not rich, earns money by sewing. The father looks at his son from a portrait on the wall... Dmitry Zhukov is also a not very famous artist of the 19th century. And if it weren't for Reshetnikov, hardly anyone would appreciate the whole genius of the plot with a high school student with a two-year student.

In general, Russian genre painting BEFORE 1917, i.e. before the era of total censorship - one continuous masterpiece. To paint the life and way of life of one's own people in such a way, with such humor and accuracy - one must know how to do it. Below is a small selection of paintings by old masters.

Nikolai Nevrev. "Merchant-reveler". 1867
Gorgeous picture. A man swelled, a cigar, a gold chain from a watch, he took champagne ...

Vladimir Makovsky. "In the Swiss". 1893
Grandfather had seen enough of such revelers in his life ...

Vasily Baksheev. "Dinner. Losers." 1901
Poverty, they were not lucky (with their father).

Firs Zhuravlev. "The creditor describes the property of the widow." 1862
The creditor looks down: "We jumped!". Although the deceased "jumped".

Below is a Polish painting, well, I couldn't resist. Ukraine is all around, Bandera :)

Kasper Zhelekhovsky. "Relentless Creditor. A Scene from Galician Life". 1890
Another name for this painting is "Expropriation". Borrowed a Westerner from a Jew, Galician tin.

Vladimir Makovsky. "Tired...by Her." 1899
The girl is Ukrainian, judging by the outfit. What made her tired?

Alexander Krasnoselsky. "Abandoned". 1867
In the background, a little to the left of the abandoned one, a milestone can be seen from the fog, do I understand correctly?

Nikolay Yaroshenko. "Kicked out." 1883
A servant, worked at home, got pregnant.

Young maids, teachers in the house, an old story, quite international.

Felix Schlesinger (Germany). "Kiss". 1910

Nikolay Kasatkin. "Who?". 1897
gave birth! And my husband was at war. The process of establishing paternity is in full swing.

Pogrom in the hut, of course. But the man is asking the right question. This is not some kind of Geyropa for you.

John Henry Frederick Bacon (England). "Rivals". 1904

On the left - Tsiskaridze, spitting image.

Nikolai Pimonenko. "Rivals". 1909
There are rivals, here are rivals. The guy is mercantile, it seems. I chose the one with the cow.

Vasily Pukirev. Reception dowry By murals. 1873
A picture about the breadth of the Russian soul. Before you get married, don't forget to count your pillowcases.

Although, of course, a cow and chests in a woman are not the main thing. The main thing is to be economical.

Sergei Gribkov. "In the shop." 1882
The young mistress, barefoot, pretty, looks sadly at the jewels in the Jew's shop. I thought. I bought grub - bring it home, don't stop!

Thrift and asceticism are wonderful for a wife. And it is also desirable that they guard the hearth.

Well, if you are a groom with a trailer, so that this would not happen either:

Firs Zhuravlev. "Stepmother". 1874

Well, if without a trailer - you need to cling!

Kirill Lemakh. "New Acquaintance". 1886
Brothers and sisters came to meet small. next. I counted five (not counting the newborn).

And now about the sad. Giving birth is half the battle, especially in Russia in the 19th century.

Nikolay Yaroshenko. "Funeral of the Firstborn". 1893

This is 1893. The average life expectancy in the Russian Empire is 32 years. Up to 40% of children died before reaching the age of three.

Vladimir Makovsky. "For medicine." 1884
Hell of Russian hospitals. Father with son. The medicine is needed for a child whose hand is bandaged.

Viktor Vasnetsov. "The Capture of Kars". 1878
But Kars is ours! On the occasion of the capture of Kars from the Turks, tavern No. 31 is decorated with an imperial coat and some blue-yellow-red flag (the principalities of Moldavia and Wallachia, apparently).

Armenian (now Turkish) city of Kars, Moldavia, Wallachia... Empire! And her brothers. The great artist Konstantin Savitsky wrote a strong picture about this war:

Konstantin Savitsky. "Seeing off to the war". 1878