Viktor Vasnetsov's "Bogatyrs": The Story Behind It

A tale is soon told, but things don't always happen quickly. In 1876, Viktor Vasnetsov presented the first detailed sketch for the painting "Bogatyrs" to Vasily Polenov's Parisian studio. The owner of the studio agreed to accept the sketch only after the full-size painting was completed. This ambitious project took 22 years and was completed in May 1898.

Image: State Memorial Historical, Artistic and Natural Museum-Reserve of V.D. Polenov / Russian Museum

Prehistory

From the beginning of the first third of the 19th century, the educated public began to actively study national history and folklore. Writers, philosophers, and artists sought to identify the "true national spirit" and explore deep, ancient customs. To achieve this goal, they applied ethnographic methods and then processed the collected material, varying its degree of significance. This interest in folk culture became an important part of the cultural process, contributing to the formation of national identity and strengthening the connection between the past and the present.

In the 1830s, the Slavophile Pyotr Kireevsky compiled an extensive collection of folk songs, in the creation of which he was actively assisted by such famous writers as Alexander Pushkin, Nikolai Gogol, Vladimir Dal, and others. In the 1860s, Alexander Afanasyev published the multi-volume collection "Russian Folk Tales," which became the basis for many well-known tales that entered popular culture, as well as for the growing public interest in myth-making and folk art in Russia.

By the 1870s, interest in folk culture had grown significantly, driven by the political situation of the time. Some members of the intelligentsia were exiled, where they collected local folklore. Others actively interacted with the people, returning with epics and songs. Overall, the intelligentsia recognized their responsibility to the lower classes of society and sought to bridge the deep social divide.

In the second half of the 19th century, artists began to actively take an interest in folk art. Critic Vladimir Stasov emphasized the rich spiritual content of peasant arts and crafts. Evenings at Ilya Repin's became a place where bylinas (Russian epics) were read, and philologist and translator of "The Tale of Igor's Campaign," Mstislav Viktorovich Prakhov, shared his lectures on Russian epic poetry. Vasnetsov's passion for Old Russian literature and romantic patriotism played a significant role in the formation of the artistic movement that would later be known as the "neo-Russian style." This style became a symbol of the revival of Russian cultural traditions and inspired many artists to create works reflecting the uniqueness and richness of Russian history and national spirit.

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Patrons of the Arts: Art under the Patronage of Women

Female patronage of the arts plays a significant role in the development of art and culture. Throughout history, many women have influenced the creative process, supporting artists, musicians, and writers. Their financial support and active participation contributed to the creation of great works of art and the development of cultural initiatives. Women patrons not only invested funds but also became inspiration for creativity, creating favorable conditions for the self-expression of talented individuals.

Modern female patrons of the arts continue this tradition, actively supporting projects in the fields of visual art, music, and literature. Their influence on the cultural life of society cannot be overestimated, and it is thanks to their contributions that art continues to develop and be enriched with new ideas. Female patronage is an important aspect of cultural heritage that inspires new generations.

A Dreamer, Not a Genre Painter

Critics initially noted Vasnetsov's talent as a genre artist, capable of masterfully depicting everyday scenes. His oeuvre includes several realistic paintings, such as "From Apartment to Apartment," "Tea Party in a Tavern," and "Preference." These works demonstrate a profound understanding of life and everyday life, which makes them significant in the context of Russian painting.

In 1975-1976, the magazine "World Illustration" noted the uniqueness of V. M. Vasnetsov's artistic style. His works convey a warm sense of life's truth, reflecting the simple emotions and characteristics of people from the lower classes. The artist depicts not only their oddities and awkwardness, but also emphasizes the depth of human passions in the anthill of life. Vasnetsov masterfully conveys vicious inclinations and flaws, which makes his work relevant and important for understanding human nature. His gift lies in the ability to depict real life without condemning, but only emphasizing its diversity and complexity.

Nevertheless, the artist himself admitted in his letter to Stasov that during the period of his deepest passion for the genre, during his academic years, he was haunted by vague historical and fairy-tale visions. Despite this, he did not consider his works controversial. The artist claimed that genre and historical paintings, as well as fairy tales, songs, epics and dramas, reflect the holistic image of the people. This appearance includes both internal and external aspects, connecting the past, present, and possibly the future.

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Viktor Vasnetsov is an outstanding Russian artist whose paintings continue to inspire and excite. His work combines folk motifs, mythology, and realism, making his works unique. Let's look at ten of his iconic paintings that are definitely worth exploring in more detail. These works not only reflect the richness of Russian culture but also demonstrate the artist's mastery of conveying emotions and moods. Each of these paintings is an important milestone in art history and allows us to gain a deeper understanding of Vasnetsov's legacy. If you are interested in Russian art and culture, these works will be a real discovery for you.

Working with a Patron

Meeting the family of the patron Savva Mamontov and participating in the Abramtsevo art circle had a key influence on the fate of the long-term construction project. This circle can be compared to a modern art residency, where such masters as Ilya Repin, Vasily Polenov, Konstantin Korovin, and Valentin Serov worked alongside artists. Interaction with these outstanding personalities contributed to the creative development and the formation of a unique artistic style.

In 1881, when the need arose to accommodate a large canvas measuring 295.3 × 446 cm, Savva Mamontov converted a barn in the "Yashkin House" into a spacious workshop with overhead lighting. Savva's son, Vsevolod Mamontov, recalled how his father's heavy work stallion and riding horse, "Fox," were brought into this space, from which the artist Viktor Vasnetsov based his images of mighty steeds. This space became an important part of the creative process, allowing the artists to work in comfortable conditions and be inspired by the surrounding nature.

The natural setting in the painting is inspired by the surroundings of Abramtsevo, including the Vorya River and its banks, where "Alyonushka" was created. These picturesque landscapes became the ideal backdrop for artistic expression, reflecting the beauty of Russian nature and its harmony.

V. M. Vasnetsov. "Landscape near Abramtsevo," 1881. Image: Tretyakov Gallery.

Dobrynya is likely a composite character based on the Vasnetsov family. Alyosha may have been inspired by Savva Mamontov's son, Andrei. The character of Ilya Muromets was created using the features of several peasants and cabbies, emphasizing the multilayered and diverse national spirit in artistic expression.

V. M. Vasnetsov. "Self-Portrait", 1873 Image: Tretyakov Gallery

V. M. Vasnetsov. "Study for the figure of Ilya Muromets in the painting "Bogatyrs", 1883 Image: Tretyakov Gallery

Meticulousness and leisurely pace

Vasnetsov sometimes forgot about social life, immersing himself in the creation of his works, such as "Bogatyrs". His acquaintances repeatedly reminded him: "You really can't sit at home forever, even with such impressive characters as your "Bogatyrs!"". This testifies to how deeply the artist was passionate about his work, which became an important part of his life.

The artist planned to present his work "Bogatyrs" at the All-Russian Art and Industrial Exhibition of 1882, but this never happened. In one of his letters to the artist Pavel Chistyakov, he noted: "It would be wonderful to show my current painting, but it is not yet finished—I do not intend to rush it—creating such a painting is a difficult task! I would like to do a high-quality job, but will it be possible?" He failed to complete "Bogatyrs" in the 1880s, which underscores the artist's high standards for his work and his pursuit of perfection.

In the autumn of 1882, the artist received a significant commission to create the frieze "Stone Age" for the Historical Museum. In his letters to Elizaveta Mamontova, he admitted: "I am so immersed in my Stone Age that I can easily forget about the modern world." This project took him about five years. After completing the frieze, the artist spent ten years fully focused on the frescoes of St. Vladimir's Cathedral in Kyiv. Although he continued to work on the figure of "Bogatyrs", he had practically no time or energy left for this project.

He finished it after all

The painting "Bogatyrs" remained a faithful companion of the Vasnetsov family, accompanying them in their moves from apartment to apartment, from Abramtsevo to Kyiv and Moscow. The artist's son, Alexei, noted that "Bogatyrs" became an integral part of their daily life, creating an atmosphere rich in history and culture. This work continued to inspire and shape family memories, reflecting important moments in life.

Every apartment always had the painting "Bogatyrs", although my father rarely worked on it. For us, "Bogatyrs" They weren't just works of art, but an important part of everyday life—they created our atmosphere, like walls and ceilings. The painting was an integral part of our daily life, next to which we spent dinners, tea parties, and family moments. Between the painting and the wall there was a narrow gap, which we called "Behind the Bogatyrs." This gap seemed mysterious and frightening to us, especially when our older sister hid there and startled us with her scream. Our younger brother watched the painting from afar, not daring to come closer to the black horse, which terrified him. Sometimes we coaxed him to close his eyes and led him to the painting, and when he opened them, horror awaited him: an ominous black horse with a red eye loomed over him. He ran away in terror.

Our father's work on the painting always aroused our interest. He held a palette in one hand and a brush in the other, mixing paints and applying them to the canvas. After each brushstroke, he stepped back to assess the result. We closely followed his actions, studying his techniques and immersing ourselves in the creative process. It was truly captivating.

In a letter to his wife in 1897, Vasnetsov describes how the bogatyr images fit seamlessly into everyday life. He notes that fresh air makes him drowsy, which slows the work. The "bogatyrs" continue to move, and breakfast, as planned, is taken with them to be eaten at home. This demonstrates how art and life intertwine, creating an atmosphere in which mythical heroes become part of reality.

Vasnetsov completed the painting "Bogatyrs" in 1898 in his studio, located in a new Art Nouveau building in Moscow, built according to his design. In this space, the "Bogatyrs" take pride of place among a collection that includes elements of ancient Russian painting, traditional Russian costumes, musical instruments, spinning wheels, tuesi (wooden baskets), and bratinki (wooden baskets). This collection reflects the richness of Russian cultural heritage and creates a unique atmosphere conducive to appreciating the artist's work.

V. M. Vasnetsov at the painting "Bogatyrs" in 1898. Photo: Tretyakov Gallery.

How the world reacted to "Bogatyrs"

When the painting was presented to the public, it received a positive response. Young people from the Academy of Arts actively attended the exhibition. Critic Vladimir Stasov, observing the students' reaction, noted: "These "Bogatyrs" are perceived as a paired work to Repin's "Barge Haulers." In the first case, it is an oppressed force; in the second, it is triumphant, calm, and confident, fearing no one." This comparison highlights the contrast between the two works and demonstrates different aspects of human strength and spirit.

Nicholas Roerich, visiting Vasnetsov's exhibition in 1989, noted that in his painting, the artist transcended the boundaries of form, reaching the depths of the universal human essence. However, in 1902, he revised his opinion: "the slowness of their creation absorbed the inspired images, replacing them with a rational exposition and a set of typical heroic attributes." This testifies to the complex transformation of the perception of art and the role of time in the creative process. Roerich emphasizes how changes in the approach to creating works can influence their perception by viewers and their overall artistic value.

Today, this painting is actively studied in educational institutions. During the Soviet era, it was reproduced many times. Oscar Rabin used its image in his work "Three Bogatyrs," presenting it as a universal symbol of Russian culture, surrounded by factories, newspapers, and herring. Even now, with our eyes closed, we can imagine a scene similar to the one Stasov described in 1899.

Ilya Muromets, the chief of the three knights, gazes intently into the distance, his hand over his eyes. He searches for an enemy to defeat, relying on his powerful weapons and his mighty black horse with its bright, alert gaze. Beside him are his faithful comrades: Dobrynya, fully armed, draws a long Slavic sword from its scabbard, and his energetic white horse, like a kindred spirit, curiously observes the world around him. Traveling with them is Alyosha, the priest's son, agile and charming, with a bow in one hand and a whip in the other, and a gusli hanging from his hip. Unlike his friends, he does not gaze into the distance and is preoccupied with his own thoughts, which are far removed from heroic deeds. A smile plays on his lips, and the red horse is also not interested in battles, but only looks for the tasty grass under his feet. This moment emphasizes not only the heroes' readiness to fight, but also their humanity and simplicity, preserving in their hearts the love for their native places and the simple joys of life.

Image: Tretyakov Gallery

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