In the final painting of The Volga Barge Haulers (1873) (plate n) it is this human dignity
In the final painting of The Volga Barge Haulers (1873) (plate n) it is this human dignity
In the final painting of The Volga Barge Haulers (1873) (plate n) it is this human dignity
seeing it instead as an epic portrait of the Russian character. What Repin meant, howeve
seeing it instead as an epic portrait of the Russian character. What Repin meant, howeve
seeing it instead as an epic portrait of the Russian character. What Repin meant, howeve
Repin was a ‘man of the sixties’-a decade of rebellious questioning in the arts as well a
Repin was a ‘man of the sixties’-a decade of rebellious questioning in the arts as well a
Repin was a ‘man of the sixties’-a decade of rebellious questioning in the arts as well a
13. Ilia Repin: sketches for The Volga Barge Haulers, 1870
13. Ilia Repin: sketches for The Volga Barge Haulers, 1870
13. Ilia Repin: sketches for The Volga Barge Haulers, 1870
the attention of society on the need for social justice by showing how the common peop
the attention of society on the need for social justice by showing how the common peop
the attention of society on the need for social justice by showing how the common peop
Russian painters, he maintained, should give up imitating European art and look to thei
Russian painters, he maintained, should give up imitating European art and look to thei
Russian painters, he maintained, should give up imitating European art and look to thei
Mark Antokolsky was a poor Jewish boy from Vilna who had entered the Academy at the same ti
Mark Antokolsky was a poor Jewish boy from Vilna who had entered the Academy at the same ti
Mark Antokolsky was a poor Jewish boy from Vilna who had entered the Academy at the same ti
The Persecution of the Jews in the Spanish Inquisition
Repin identified with Antokolsky. He, too, had come from a poor provincial family - the s
Repin identified with Antokolsky. He, too, had come from a poor provincial family - the s
Repin identified with Antokolsky. He, too, had come from a poor provincial family - the s
but he also painted unknown peasants. Earlier painters such as Venetsi-anov had portray
but he also painted unknown peasants. Earlier painters such as Venetsi-anov had portray
but he also painted unknown peasants. Earlier painters such as Venetsi-anov had portray
It was through Kramskoi and Antokolsky that Repin came into the circle of Stasov in 1869, a
It was through Kramskoi and Antokolsky that Repin came into the circle of Stasov in 1869, a
It was through Kramskoi and Antokolsky that Repin came into the circle of Stasov in 1869, a
Musorgsky was roughly the same age as Repin and Antokolsky but he had joined Stasov’s stable
Musorgsky was roughly the same age as Repin and Antokolsky but he had joined Stasov’s stable
Musorgsky was roughly the same age as Repin and Antokolsky but he had joined Stasov’s stable
Korsakov (then twenty-seven) in St Petersburg. Stasov would arrive early in the morning, hel
Korsakov (then twenty- seven) in St Petersburg. Stasov would arrive early in the morning, hel
Korsakov (then twenty-seven) in St Petersburg. Stasov would arrive early in the morning, hel
(‘narodnaya muzikal’naya drama’).
It is the people I want to depict: when I sleep I see them, when I eat I think of them, when I d
It is the people I want to depict: when I sleep I see them, when I eat I think of them, when I d
It is the people I want to depict: when I sleep I see them, when I eat I think of them, when I d
And yet there were tensions between Musorgsky and the Populist agenda set out for him by S
And yet there were tensions between Musorgsky and the Populist agenda set out for him by S
And yet there were tensions between Musorgsky and the Populist agenda set out for him by S
covered him; he gave him the material for much of his greatest work; and he championed his mu
covered him; he gave him the material for much of his greatest work; and he championed his mu
covered him; he gave him the material for much of his greatest work; and he championed his mu
it not been for Stasov. But the critic’s politics were not entirely shared by the compose
it not been for Stasov. But the critic’s politics were not entirely shared by the compose
it not been for Stasov. But the critic’s politics were not entirely shared by the compose
was not political or philosophical - it was artistic. He loved folk songs
was not political or philosophical - it was artistic. He loved folk songs
was not political or philosophical - it was artistic. He loved folk songs
and incorporated many of them in his works. The distinctive aspects
and incorporated many of them in his works. The distinctive aspects
and incorporated many of them in his works. The distinctive aspects
of the Russian peasant song - its choral heterophony, its tonal shifts,
of the Russian peasant song - its choral heterophony, its tonal shifts,
of the Russian peasant song - its choral heterophony, its tonal shifts,
drawn out melismatic passages which make it sound like a chant
drawn out melismatic passages which make it sound like a chant
drawn out melismatic passages which make it sound like a chant
or a lament - became part of his own musical language. Above all, the
or a lament - became part of his own musical language. Above all, the
or a lament - became part of his own musical language. Above all, the
folk song was the model for a new technique of choral writing which Musorgsky first develop
folk song was the model for a new technique of choral writing which Musorgsky first develop
folk song was the model for a new technique of choral writing which Musorgsky first develop
Musorgsky was obsessed with the craft of rendering human speech in musical sound. That is w
Musorgsky was obsessed with the craft of rendering human speech in musical sound. That is w
