One Day in Ilya Repin's Life at the Academy of Arts

Content:

• Context

I woke up at seven o'clock in the morning and, having drunk a cup of tea with black bread, was full for the whole day. Having gone up to the second floor, I saw a sign on the door: a lecture on general history is taking place here. I entered with interest. The amphitheater, filled with students, already held about thirty people. We waited for about twenty minutes until finally, a professor with a sleek wig and shaved face, with a characteristic teacher's gait and tilt of his head, stepped to the podium. In a monotonous voice, he began to talk about Egyptian papyri found in the tombs of mummies, using bookish language. I tried to concentrate, but soon felt sleep overtake me. Despite my efforts to remain alert, I felt lethargy creeping over me. I tried to lift my head, but soon it slumped onto the desk, and my hands, holding my notebook, fell to the table. Fortunately, the professor was far away and seemed to be dozing as well. Despite my interest in the antiquities he spoke of, I couldn't concentrate. The student next to me couldn't help but smile, observing my state. I shook myself, tried to pull myself together, and listen to the fascinating scientific report again, but alas, it was no use: I nodded off again, forgetting everything.

I woke up. There was already noise all around, students were leaving their classrooms; the clock said half past four, and drawing class would start at five. "I could use a cup of tea now," I thought, realizing that the apartment was far away and I would hardly make it in time. I walked down the dark corridor to the cloakroom, where impatient students were already crowded, eager not to miss a single minute of drawing class, which would last from five to seven o'clock.

The most patient ones were standing by the door, waiting for it to open. They pressed against it to be the first to get to their seats. Finally, the door opened, and I took my seat after the others, after 150 numbers.

Alexander Severts's head was on the table. Students from all three classes, seated on circular amphitheaters with raised benches, sat quietly for two hours. The only sound in the air was the scratching of pencils, reminiscent of the chirping of grasshoppers. Only the occasional noise was heard when someone, instead of a rag, used a scarf around their neck to brush charcoal off a drawing.

So the class is over. Five minutes before seven, the bell rings, and all the students rush to the guard, who stands at the exit door with a large towel and a cup of water. They rush to wash their hands, blackened by pencil marks, and quickly dry them with a rough towel, which has already become dark gray and wet. Not surprising, since instead of soap, they use a piece of gray clay, thoughtfully left on a shard by a caring guard. I inhale the fresh air with delight and step outside. Today is a wonderful day: from seven in the morning until seven in the evening, I was busy with my favorite activities. I feel satisfied and full of energy. Now I'm going to enjoy some tea and toasted slices of black bread, which, I hope, the kind old lady will warm up for me in the stove. If not, then I'll simply place them on the samovar, and they will quickly heat up, becoming crispy and delicious. This moment of simple pleasure brings joy and comfort to life.

Ilya Repin is a prominent Russian artist, known for his works that deeply reflect the life and history of Russia. His work, "Distant, Near," is a striking example of artistic mastery and emotional depth. In this work, Repin uses light and shadow to create an atmosphere full of tension and anticipation. The painting combines elements of realism and symbolism, making it unique.

Repin sought to convey not only the appearance of his characters but also their inner world, allowing the viewer to more deeply understand their feelings and experiences. "Distant, Near" reflects a person's desire for dreams and hope, even when reality seems harsh. Repin's works continue to inspire and captivate art lovers thanks to their ability to address important themes in human life.

Context

At the beginning of the 20th century, Ilya Repin reminisced about his studies at the Imperial Academy of Arts in St. Petersburg, which lasted from 1864 to 1871. When he began writing his memoirs, about 30 years had passed since his completion. The text was initially prepared for publication in 1915, but the book was not published until 1937, after the artist's death. The editor and author of the preface to this edition was Korney Chukovsky, who was not only Repin's friend but also a neighbor in the famous Kuokkala. These memoirs offer a unique opportunity to gain a deeper understanding of the creative path of one of Russia's greatest artists and his contribution to art.

In the preface to Repin's memoirs, Chukovsky emphasizes their "fictional" nature. Describing various episodes, the author imbues them with theatrical quality and completeness. For example, the image of a poor provincial student greedily sipping tea with crackers is reminiscent of the works of the Itinerant artists. On the one hand, this plot appears quite realistic, but on the other, it is imbued with the drama that is characteristic of Repin and his famous everyday scenes in painting. This approach allows the reader to more deeply understand the emotional side of the characters' lives and sense the atmosphere of the time in which they live.

In 1938, Korney Chukovsky published his autobiographical novella, "The Silver Coat of Arms," ​​in which he describes in detail his origins as a commoner, "correct" from the perspective of Soviet ideology. Chukovsky emphasizes the hardships he endured and the pre-revolutionary class injustice, similar to Ilya Repin. During the repressions and terror, other autobiographies were not published, so in the preface to Repin's book, Chukovsky actively discusses the artist's "ideological commitment" and his connection to the common people. It can be assumed that Chukovsky may have intentionally exaggerated the hardships described in his memoirs, emphasizing the importance of his subject and drawing readers' attention to the social issues of the time.

Undoubtedly, Ilya Repin's student years were full of difficulties. The archives of the Academy of Arts contain numerous petitions for financial assistance from him, testifying to his difficult living conditions. His family lived in a military settlement near Chuguev, Ukraine, and earned their living through hard labor: his father, when not conscripted into the army, traded horses, and his mother kept house, sewing hare fur coats in her husband's absence. Before moving to St. Petersburg, Ilya worked in an icon-painting cooperative. In St. Petersburg, he survived on odd jobs, but his studies took up all his time, so his income wasn't enough even for a proper meal. The difficulties Repin faced on the path to his dream only strengthened his desire to become a great artist. Despite these difficult circumstances, Ilya Repin excelled so academically that he received several prestigious awards during his student years. He was awarded a silver medal for his sketch "The Angel of Death Slaying All the Firstborn Egyptians," as well as a small gold medal for his painting "Job and His Friends." His diploma work, The Resurrection of Jairus's Daughter, earned him his first gold medal, the title of First Degree Artist, and the right to a six-year trip abroad at the Academy's expense. By the time he completed his studies, Repin was already successfully earning money by accepting orders as a professional painter.

From the first A curious story surrounds the award for the sketch "The Angel of Death Slaughtering All the Firstborn Egyptians." In the 1860s, a dispute erupted in the artistic community, including the Imperial Academy, between adherents of the "classical" movement, who sought to emulate the high styles of the Italian masters, and representatives of a new generation, who insisted on realistic depictions of everyday life. One of the prominent representatives of this new movement was Ivan Kramskoy, with whom Repin had become friends in drawing classes before entering the Academy. This friendship fostered their shared interest in free, realistic art, which significantly influenced their subsequent creative work.

Students at the Academy were tasked with creating a sketch on the classical theme of "The Angel of Death Destroying the Firstborn of Egypt." Repin, rejecting the traditions of classicism, completed this assignment with an emphasis on realism, depicting an angel strangling a young man, firmly grasping him by the throat and pressing his knee into his stomach. This bold interpretation of the biblical story could have drawn criticism from classical teachers, as it deviated from canonical representations and demonstrated the artist's naturalistic approach.

Repin's sketches repeatedly attracted the attention of his colleagues, and one in particular aroused great interest. Many of those present noted: "However, this could lead to punishment; the sketch will most likely be removed and sent to the inspectorate." These words underscore not only the creative atmosphere of the time but also the risks faced by artists. Repin, like many others, experienced pressure from the authorities, which made his work even more significant.

The teachers of the Academy of Fine Arts evaluated a series of sketches, including one by Ilya Efimovich Repin. The artist anxiously awaited his meeting with the Academy inspector to explain his creation. He feared that his "bold" approach to depicting an angel could lead to his transfer from student to auditor. However, the inspector greeted Repin warmly and informed him that the Academy Council had expressed interest in his sketch as a potential candidate for a medal.

You can certainly change the scene, which is treated too realistically. The spirit, the angel of death, does not require physical force to strangle – simply reaching out with your hands is enough. However, it is important to remember that you have complete freedom to interpret as you see fit. I am merely conveying the opinion of the Council to you, and your vision has a right to exist.

The painting, created in 1865, is currently in the Tretyakov Gallery.

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