Welcome to the Gallery's Summer newsletter! For our No Reserve Silent Auction, we are once again pleased to offer two amazing paintings.

This is your chance to add outstanding works by Top Soviet Artists to your collection! Yakov Romas was the 1947 Lenin Prize Winner, This is a BIG DEAL!

Plus, "Yes, You Can Hang Art Like a Pro" and "6 Facts About Ilya Repin You Should Know."

Romas, Yakov Dorofeevich

"At the Canal Lock"

31½'' x 39¼'', (80 x 100 cm)

1965, Oil on Canvas

Estimate $8,000 to $10,000- framed

Current Bid $500 by D. Sutton, Next Bid is $750

Yakov Dorofeevich Romas (1902-1969) was a distinguished Soviet artist whose work continues to captivate audiences. In 1947, Romas received the prestigious Stalin Prize for his painting "On the River," now proudly displayed in the State Tretyakov Gallery in Moscow.

Yakov Romas' 1947 masterpiece painting, "On the River". The painting won the Stalin Prize. 

The Stalin Prize was introduced in 1941 as Stalin's vision of a Soviet alternative to the Nobel Prize, with one of its coveted categories being 'arts and culture.' Winning this award brought significant professional recognition and substantial financial and tangible benefits to Soviet artists.

Years after Romas's passing, his family shared letters with visiting art dealers that revealed correspondence between Romas and his former professor, Sergey Gerasimov, a renowned artist and President of the Academy of Arts of the Soviet Union. These letters indicated that Romas initially declined the Stalin Prize but was persuaded by Gerasimov to accept it, facing the grim alternative of life in the gulag. Romas eventually accepted the prize but did not attend the award ceremony, citing poor health.

"On the Raft" marks a significant turning point in the artist's career, as before the war, they were primarily engaged in decorative art. In 1948, Romas was awarded the Stalin Prize for this masterpiece. The painting, displayed at the Institute of Russian Realist Art (with the original housed in the State Tretyakov Gallery), was specifically created for the office of Vasily Stalin.

The artist portrays everyday life as an idyllic scene, capturing the serene moments of tranquil rafters. The characters in the painting are seen setting the table, preparing for dinner, with fresh chowder seemingly boiling in the pot. Romas invites the viewer to appreciate the beauty of nature and the vast expanses of the Volga River. The river's curve stretches into the distance, symbolizing the journey that lies ahead for the characters. Romas explained the themes of his work, stating, "The sergeant has returned from the front line to his peaceful work and is recounting the recent military campaign to the rafters. The raft continues down the river to restore the areas devastated by the battles."

However, the peaceful dinner scene is misleading, as the work of the rafters is fraught with danger. They must leap from one raft to another amidst the river's swift currents, dislodging congestion and navigating rapids. In some regions, rafting remains the only viable method to transport large quantities of wood, making it inevitable for rafters to face numerous challenges.

This month, the McCarthey Gallery is honored to feature Romas's painting "At the Canal Lock" as our main silent auction work. Romas's artistic journey began under the tutelage of some great Soviet artists and continued through his military service on a ship. Afterward, he devoted himself to fine art, focusing on river and maritime landscapes.

His extensive travels along the Volga and Kama rivers with fellow artists Aleksei Gritsai, Vladimir Meshkov, and Georgy Savitsky inspired "At the Canal Lock," where Romas depicts an idyllic and timeless Russian landscape with his unique style and flair.

Romas's paintings, including "On the River" and "At the Canal Lock," often portray everyday work scenes as serene and beautiful, inviting spectators to appreciate the natural beauty and vastness of the Volga River. He once described the themes of these paintings as follows: “The sergeant has returned from the front line to his peaceful work and is telling the rafters about the military campaign that recently finished. The boats flow on down the river to restore those places destroyed in the battles." However, "On the River" subtly reveals the dangers faced by rafters, who must navigate swift currents, dislodge congestion, and steer through rapids to transport wood, often encountering significant challenges.

Through his personal experiences and keen observations of the people, the light and the colors of the Volga River from which Romas created a distinctive palette of color and energy, leaving a lasting legacy in the world of art.

"At the Lock" would make a stunning addition to any collection! It is rare that we offer such and important work by one the Top Soviet Artists in the Silent Auction.

Remember, there is no reserve, at the end of the auction the high bid wins! Bids will be taken via telephone, or e-mail until 7:00 pm Tuesday July 15, MST.  Follow all the bidding updates on the Gallery's website.

Please, e-mail bids only to info@McCartheyGallery.net and make sure your receive confirmation of your bid. Note that you may place a maximum bid and the Gallery will bid on your behalf up to your maximum. By placing a maximum bid you will be assured you are not out bid at the last minute. 

Tel: 801-755-7072

email:  info@McCartheyGallery.net

website:   www.McCartheyGallery.net

Good luck! Stephen Justesen, McCarthey Gallery

Yakov Dorofeevich Romas (1902-1969)

Yakov Dorofeevich Romas was an outstanding Soviet artist, painter, stage designer, and teacher, renowned for his landscape and landscape-genre compositions. His works often depicted vast sea and river scenes. He notably served as the main artist for the All-Union Agricultural Exhibition from 1950 to 1954.

Born in Sokolka, Grodno province (now Poland) in 1902, Romas studied at the Prechistenka Practical Institute in Moscow from 1921 to 1922 and at the Moscow Higher Art and Technical Institute from 1924 to 1930 where his teachers were Sergey Gerasimov and Pyotr Konchalovsky. He began exhibiting his work in 1928 and became a member of the Union of Soviet Artists. Specializing in landscapes, he also taught at the 1905 Art Tekhnikum from 1932 to 1936 and the Surikov Institute from 1948 to 1950. His notable achievements include becoming a Soviet academician and winning the Stalin Prize in 1948. Additionally, Romas worked as a theater artist from 1922 to 1924 and decorated festivals in Moscow from 1924 to 1937. He was married to, and later divorced from, Varya Armand, the daughter of Lenin’s friend Inesa Armand. Romas passed away in Astrakhan in 1969.

From the first days of the Great Patriotic War, many professionals from peaceful fields, including Romas, served in the navy. He became a master of decorative and design art, contributing to the decoration of Moscow for celebrations, museums, and metro stations. Throughout his life, Romas continued to paint, with a particular fondness for the Caspian Sea, the Volga, and the Yenisei.

During World War II, Romas served as a political commissar on the battle cruiser Maxim Gorky, where he created the famous painting "Winter Salvos of the Baltic." After the war, he focused on fine art, particularly river and maritime scenes, which he captured during extensive travels along the Volga and Kama rivers together with artists Aleksey Gritsay, Vladimir Meshkov and Georgy Savitsky. These travels inspired “On the Raft” where he successfully united the image of an idyllic and eternal Russian landscape with elements of the genre painting that was so popular in the Soviet Art of 1940s–1950s.by B. Kustodiev.

A full member of the USSR Academy of Arts and a People's Artist of the USSR, Romas created many landscapes of Russia's middle-earth zone. He also worked extensively as an artist-designer. He studied under notable artists such as N. Krymov and N. Ulyanov. In 1930, he graduated from the Theatrical and Decorative Department of the All-Union Artistic Theatrical Institute. He was a prominent participant in art exhibitions and was involved in the artistic decoration of Moscow's central squares during revolutionary holidays. He designed the setting for the V.I. Lenin’s Central Museum in 1935.

Romas was awarded the USSR State Lenin Prize in 1948 for his painting "On the Raft" and received a silver medal at the 1958 International Exhibition in Brussels for his work "Morning." From 1962 until his death in 1969, he was a member of the Presidium of the USSR Academy of Arts. His contributions to art also include designing the Krasnoselskaya station of the Moscow subway and serving as a tutor at the Surikov Moscow State Institute of Arts. His personal exhibitions were held in various cities, and his works are included in the permanent collections of the Tretyakov State Gallery, the State Russian Museum, the Dresden painting gallery, the Astrakhan painting gallery and other prestigious institutions.

Romas's significant contributions to Soviet design and landscape art are well-recognized. He participated in the design of festive events in Moscow, the Central Lenin Museum, and the Soviet pavilion at the World's Fair in New York. His teaching career included positions at the Moscow Regional Art and Pedagogical School and the Moscow State Art Institute.

His dedication to art and his numerous accolades, including the Order of the Great Patriotic War of the 2nd Degree, solidify his legacy as a distinguished figure in Soviet art history.

Biography:

Born on January 29 (February 11), 1902 in Sokółka, Grodno Governorate. Died on May 18, 1969 in Astrakhan.

Creativity:

He is the author of such famous works as "Winter Salvoes of the Baltic" (1942), "On the Raft" (1947), "Where the Kuibyshev Hydroelectric Power Station Will Be" (1950), "Morning" (1957) and others.

Awards and titles:

People's Artist of the USSR (1965), laureate of the Stalin Prize, (1948).

Education:

He studied at the Prechistensky Practical Institute, and then at VKHUTEMAS-VKHUTEIN, where his teachers were such famous artists as K. A. Korovin, N. P. Krymov, N. P. Ulyanov, P. P. Konchalovsky and I. M. Rabinovich.

Contribution to art:

Romas was one of the pioneers of Soviet design and made a significant contribution to the development of the landscape genre in Soviet art.

Participation in important projects:

He also took part in the design of festive events in Moscow, the Central Lenin Museum and the Soviet pavilion at the World's Fair in New York.



Teaching:

He taught at the Moscow Regional Art and Pedagogical School, the Moscow State Art Institute and was an artist for the Baltic Fleet during the Great Patriotic War.

His works are included in the permanent collections of the Tretyakov State Gallery, the State Russian Museum, the Dresden painting gallery, the Astrakhan painting gallery and other prestigious institutions.

Vasin, Vladimir Alekseevich

"Moscow View"

9'' x 14½'', (23 x 37 cm)

1970, Oil on Board

Estimate $2,000 to $2,500- framed

Current Bid $250 by Irving McDonnel, Next Bid is $500

A Quiet Glimpse: Vladimir Vasin’s Moscow View

At just 9 by 14½ inches, Vladimir Alekseevich Vasin’s Moscow View (1970) is a small painting that leaves a lasting impression. Though modest in scale, it captures the soul of a city with a calm reverence and a painterly sensibility that is distinctly Vasin’s. Rendered in oil on board, the work unfolds in soft browns, muted ochres, and dusky grays—a palette that has come to define the artist’s approach to landscape and urban scenes.

Vasin, a Soviet painter deeply devoted to the Russian landscape, brought the same emotional depth and compositional harmony to his cityscapes. Moscow View is not a grand or monumental vision of the capital; rather, it is an intimate moment, likely observed during one of the artist’s quiet walks through the historic quarters of the city. There are no political slogans or crowds—just the quiet dignity of old architecture under a brooding sky, lit by the diffuse glow of a fading day.

What makes the painting so effective is Vasin’s ability to evoke mood through restraint. His brushwork is soft, almost meditative, giving the impression of air gently wrapping itself around buildings and streets. There is a kind of visual hush in the piece, a silence that invites viewers to lean in and feel the atmosphere rather than simply see the place. In this way, Moscow View becomes not just a painting of a city, but a reflection of how we carry places within us—half seen, half remembered.

Though Vasin never sought fame beyond the Soviet art circles of his time, works like Moscow View remind us of the quiet power of observation. In a few measured strokes and subtle tones, he captured the poetry of everyday life—a Moscow not of spectacle, but of memory.

Vladimir Alekseevich Vasin (born 1918, died 2006)

was a distinguished Russian artist celebrated for his captivating landscape paintings. Born in Moscow, he began his formal art education at the Moscow Regional Pedagogical Art College, where he studied from 1934 to 1938. He later attended the All-Union State Institute of Cinematography from 1939 to 1943, under the guidance of the notable artist F. Bogorodsky.

Vasin's artistic career flourished after he became a member of the Moscow Union of Artists in 1944. His work is characterized by a realistic portrayal of nature, emphasizing the intricate interplay of colors and the vivacity of the natural world, particularly in his depictions of skies and atmospheres. His mastery of composition and vibrant representation of foliage set his paintings apart.

Throughout his career, Vasin participated in numerous exhibitions, both domestically and internationally, showcasing his work in countries such as Italy, Canada, Sweden, Poland, Germany, Japan, and France. He was notably featured in the All-Union Art Exhibition in 1950 and the "Soviet Russia" exhibition in 1960. His solo exhibitions took place in Moscow in 1978 and 2002, as well as in Paris in 1992.

Vladimir Alekseevich Vasin’s artistic journey is marked by a deep-rooted connection to nature, which he often depicted in his landscapes. His works not only reflect the beauty of the natural world but also convey a sense of tranquility and introspection. Vasin was particularly influenced by the Russian landscape, capturing the essence of rural life and the serene beauty of the countryside.

His education played a pivotal role in shaping his artistic style. At the Moscow Regional Pedagogical Art College, he was exposed to various artistic techniques and philosophies, which laid the groundwork for his future endeavors. His time at the All-Union State Institute of Cinematography further refined his skills, particularly in understanding light and color, essential elements in his landscape compositions.

Vasin’s style is often described as a blend of realism and impressionism. He employed a distinctive palette characterized by soft, earthy tones and a masterful use of light, which brought a sense of depth and atmosphere to his paintings. His ability to portray the subtleties of nature, from the play of shadows to the vibrancy of colors, allowed viewers to experience the landscapes in a visceral way.

Throughout his career, Vasin was dedicated to the art community, both as an artist and an educator. His involvement with the Moscow Union of Artists allowed him to connect with other artists and participate in significant exhibitions, contributing to the cultural discourse of the time. He was an advocate for the importance of art in society, often emphasizing how it reflects the human experience.

Vladimir Alekseevich Vasin's artistic exploration was deeply intertwined with his personal experiences and reflections on the world around him. His landscapes often embody a sense of nostalgia, drawing on memories of his travels and the natural beauty he encountered throughout his life. He had a particular affinity for the Russian countryside, frequently capturing the diverse motifs found along the Volga River and in various provincial towns. These locations served as both inspiration and subject matter for many of his works.

Vasin's technique was notable for its attention to detail and a subtle interplay of light and shadow. He often painted en plein air, which allowed him to capture the ephemeral qualities of light and the shifting colors of the landscape in real-time. This approach not only enhanced the authenticity of his work but also reflected his belief that nature was his greatest teacher. Through his brushwork, he sought to evoke emotions and invite viewers to experience the serenity and dynamism of the natural world.

His commitment to realism, combined with an impressionistic flair, allowed him to convey the vibrancy of life in his paintings. Vasin often depicted seasonal changes, highlighting the transformation of landscapes through the lens of time. His ability to capture the essence of a moment—be it the soft light of dawn or the vibrant hues of autumn—demonstrated his profound understanding of nature's rhythms.

In addition to his landscape works, Vasin also created narrative paintings that reflected everyday life and the human experience. These pieces often featured figures engaged in various activities, seamlessly integrated into the surrounding environment, further emphasizing the connection between humanity and nature.

Vasin's participation in international exhibitions not only showcased his talent but also facilitated cultural exchange, allowing him to engage with artists and audiences from different backgrounds. His works received acclaim for their technical skill and emotional depth, and they were instrumental in promoting Russian art on the global stage.

As an educator, Vasin influenced countless aspiring artists, imparting his knowledge of painting techniques, color theory, and the importance of observation. His role as an associate professor at the All-Union State Institute of Cinematography positioned him as a key figure in shaping the next generation of Russian artists. Many of his students have credited him with instilling a sense of discipline and a deep appreciation for the craft.

Vasin's works are included in various prestigious collections, ensuring that his artistry remains accessible to the public. His paintings serve as a testament to the beauty of Russian landscapes and the depth of the human connection to nature. Overall, Vladimir Alekseevich Vasin's life and work encapsulate a profound appreciation for the world around him, making him a significant figure in Russian art history. His ability to translate the beauty of nature onto canvas continues to resonate with art lovers and inspires artists today.

Vasin's legacy endures through his works, which are included in the permanent collections of many prestigious institutions including the State Tretyakov Gallery, the Kazakh Art Gallery, the Museum of Arts of Uzbekistan (Tashkent),various regional museums and private collections in Russia and abroad. His art reflects a deep appreciation for the beauty of nature, often inspired by his travels through Russian cities and landscapes. His ability to capture the nuances of color, light, and shadow with a soft, airy palette remains a hallmark of his style.

In addition to his artistic endeavors, Vasin dedicated a significant portion of his life to education, teaching painting at the All-Union State Institute of Cinematography from 1943 until his retirement in 1996, where he held the rank of associate professor. His contributions to both art and education have left an indelible mark on the Russian art community, securing his place as a notable figure in the history of Russian painting. Vasin passed away in 2006, leaving behind a rich legacy of artistic expression, education and a profound connection to the natural world. Vasin's dedication to both art and education has left an indelible mark on the Russian art community, securing his place as a notable figure in Russian painting history.

At just 9 by 14½ inches, Vladimir Alekseevich Vasin’s "Moscow View" (1970) is a small painting that leaves a lasting impression. Just imagine having such an wonderful and impressive work in you collection.

Remember, there is no reserve, at the end of the auction the high bid wins! Bids will be taken via telephone, or e-mail until 7:00 pm MST, Tuesday, July 15th. We invite you to participate in this month's auctions and thank everyone who placed bids 's last month. Remember, there is no reserve, at the end of the auction the high bid wins!

Please, e-mail bids only to info@McCartheyGallery.net.  Note that you may place a maximum bid and the Gallery will bid on your behalf up to your maximum bid.

Follow all the bidding updates on the Gallery's website.  

Good Luck!

Tel: 801-755-7072

email: info@McCartheyGallery.net

website:  www.McCartheyGallery.net

Yes, You Can Hang Art Like a Pro

Hanging a beloved piece of art is a great way to upgrade the look of your living space—unless, of course, you don’t hang it properly and wind up with a sloppy mounting job that damages your walls in the process.

Installing artwork or other framed, heavy pieces can definitely be daunting, but with just a bit of know-how, it doesn’t have to be. In fact, finding the right spot for your art and securing it so it never needs straightening might actually be easier than you think.

To get you started, we asked two art-installation professionals—Faye Urlacher, founder of the Arizona-based art consulting firm artstudio 1.0.1, and Robin Kaiser-Schatzlein, a former art installer in New York City—about the expert-level yet user-friendly tips, tricks, and products they recommend that’ll help make any art-hanging project look picture-perfect on the first try.

For a picture that stays put, forgo picture wire

You’re probably familiar with picture wire, which is typically strung across the backside of a frame. But both of the experts we spoke to said that relying on that wire to balance a piece on a wall is just not done in the professional world—for several reasons.

For starters, picture wire can be tricky to use, which you probably know if you’ve ever tried to get one to catch onto a picture hanger’s hook. Because picture wire tends to have a little slack, it can cause your artwork to lean out from the wall at an angle. “You don’t get that straight-on, parallel view you want,” Urlacher said, “and it’s kind of ugly from a side view.”

Also, since wires are not solid surfaces, any piece you hang on them is apt to tilt out of place, even if you use two picture hangers instead of one for more stability.

If you do use a picture wire, Urlacher suggests attaching a pair of stick-on felt pads (also known as bumpers) underneath the two bottom corners of the piece, a few inches in from the outer edges, to help counteract the leaning-forward effect that a picture wire can create.

Instead, place the frame directly atop screws, or use D-rings

For an easier installation that offers a more secure mount, Kaiser-Schatzlein prefers to drill two screws into a wall and simply sit a piece’s frame directly atop them.

Rather than hanging frames on a picture wire, perhaps hang directly onto screws. 

“It’s easier to get it level, and it’s easier to get it hung at the exact height you want,” Kaiser-Schatzlein explained—whereas a picture wire has some give that can make it hard to gauge the exact height at which your art will hang.



Plus, once your piece is up on screws, it’ll be more secure and less likely to tilt. “If someone brushes past the work in a hallway, and it’s resting directly atop a pair of screws, it won’t move,” he said. “I think it’s more reliable.”

To ensure that your screws are even, use a tape measure and a level to mark their placement before you start. If you can drill into a stud, senior staff writer and home-improvement expert Doug Mahoney says that’ll give you a more solid mount than using a screwdriver. He also suggests drilling a pilot hole first, “which will make sinking the screw easier and won’t mess up your paint job as much as if you just started twisting a screw into your wall.”

Mark where you’ll place your screws and check that they’re level before drilling. Attaching D-rings to the back of the frame makes the connection extra secure and may be necessary for some frames to catch onto the screws.

For an even more secure hold, you can install a D-ring (you can get a pack of Ook D-rings at Home Depot or Blick) on each side of the frame. Again, make sure they’re level to one another, and loop those rings over the screws instead. This is Urlacher’s preference, which is also a good choice if your frame doesn’t have enough of a lip to allow it to perch atop screws. She recommends attaching the D-rings a few inches in from the outer edges of the frame to help conceal the hardware.

If you can’t find a stud, opt for an Ook hook

Conventional wisdom usually dictates that you hang a piece of art by finding a stud in your wall and drilling into it. But studs are typically spaced 16 inches apart from center to center, with about 14.5 inches of empty space in between, according to Doug—so even if you find one where you want your artwork to go, what about the hardware on the other edge of the frame?

For hanging into drywall in those hollow-wall situations, Kaiser-Schatzlein likes Ook Professional Picture Hangers, which are designed for drywall without a stud behind it. (Although other brands sell similar-looking hooks, he recommends Ook specifically.)

Ook picture hangers are also sold in different weight capacities that, the company claims, can accommodate artwork up to 100 pounds. Urlacher’s rule of thumb, however, is that any piece that weighs more than 20 pounds should be anchored into a stud.

Ook Professional Picture Hangers are designed to be inserted directly into drywall without needing to find a stud

Because Oak picture hangers mount into a wall with thin, brad-like pins rather than screws or nails, they can be pushed in by hand if need be (see a video demonstration here) and can be removed with very little damage to a wall. “They’re easier to pull out, and they just leave these pinholes behind,” said Kaiser-Schatzlein. “You can barely see them.”

Although these hooks are designed to be used with a picture wire, Kaiser-Schatzlein said that it should be fine to try resting a frame atop an Oak picture hanger, much like his screw hack above, so long as the piece isn’t too heavy.

For extra security, use a French cleat

If you really want to mimic how the pros install art, and you’re able to drill into studs, try using a French cleat.

A French cleat consists of two pieces of beveled wood or metal. They come in different sizes; some have as few as two drill holes, others may have as many as six. (Bigger sizes are ideal for making sure you can cover the spread of hollow wall between studs, but unless you’re hanging a very heavy piece, chances are you don’t need to actually drill screws into all six holes.)

One piece of the cleat is screwed into the wall with its beveled edge facing upward, while the other piece attaches to the back of your artwork with the beveled edge facing downward. Once both are installed, the artwork can be slid into place with the two cleats nestled into one another like a pair of clasped hands.

A French cleat, mounted to a stud, is extra secure and keeps a picture frame level.

“It’s a clean, beautiful installation,” Urlacher said. “It not only looks great, but it will stay level and in place.”

Hang art out of direct sun—or invest in UV protection

A sunny, light-filled interior is a highly desirable feature in most any home; unfortunately, sunlight is really bad for art. “UV light will degrade paintings, posters, photographs—anything,” Kaiser-Schatzlein said. “I have seen people hang stuff in direct sunlight, and they don’t realize that they’re actually destroying the work.”

A good framing shop should have options for glass that’s been treated with a UV-protective glaze, which can filter out up to 99% of harmful rays. In our guide to the best online framing services, we suggest Level Frames for its wide array of UV-protection options.

Unfortunately, those glazes can be expensive. If you’re on a budget, or if you’re working with an unframed canvas, Kaiser-Schatzlein suggests hanging pieces in a hallway, since they tend to get less natural light than other parts of a house.

How high to hang: Just follow your gut



Now that you know which hardware to use and where to display your art, the next question is: How high?

Don’t worry about whatever picture-placement rules you’ve read online. In fact, it’s more than fine to just wing it and go with your instinct.

“Every show that I’ve ever hung has not adhered to any type of rule,” Kaiser-Schatzlein noted. “Anything that looks good is good. There’s no right or wrong way. If it looks wrong, it is wrong, and if it looks good, it is good.”

Even in his own home, he added, “Personally, I have no patience for measuring stuff out. I just put something on the wall, hang it, then take the next picture and hang that one. I just do it intuitively.”

6 Facts About Ilya Repin You Should Know

Ilya Repin was a prolific history painter, vegan activist, teacher, and artist deeply proud of his Ukrainian heritage.

Ilya Repin was born in the Russian Empire on the territory of present-day Ukraine. He was one of the most interesting realist painters in Europe of his era. Over the long years of his career, he created hundreds of portraits and history paintings that illustrated the remarkable yet often mythologized moments in his land’s history. For his contemporaries, he was a talented eccentric and a truly marvelous and outstanding figure. Read on to learn more about the master of Russian Realism, Ilya Repin.

1. Ilya Repin Had Ukrainian Heritage

Self-Portrait, by Ilya Repin, 1894. Source: Museum of Russian Impressionism, Moscow

Although usually labeled as a Russian painter, Ilya Repin was born near Kharkiv, in the present-day territory of Ukraine. His father was a former soldier who turned into a horse merchant, while his mother, a literate and well-read woman from a military-related family, ran a small school where she taught local children and adults to read, write, and count. Ilya’s obsession with art started with a small gift from his cousin – a pack of watercolor paints. As the artist remembered, his mother had to physically move him to the dining room to force him to eat away from his new hobby. Soon, he became sick and almost died. In agony, the boy asked only one question: if God would allow him to paint in heaven?

He soon recovered, and at the age of just 11, he began studying topography and icon painting. His talent soon received recognition, and by the end of his studies, a sixteen-year-old Repin received a job in a traveling group of icon painters. Soon, he moved to Saint Petersburg to study art professionally and started to gain prominence in the circles of art lovers and collectors.

Hopak, by Ilya Repin, 1927.

During the following years, he would travel extensively, spending three years in Paris, admiring the work of the French Impressionists. After several decades spent in Moscow and Saint-Petersburg, he settled in Finland, where he spent the rest of his life. Still, despite all his travels and temporary homes, he remained connected to the culture of his native Ukrainian region. He taught his children Ukrainian folk songs and tales.

During his long career, Repin repeatedly returned to the scenes of Ukrainian Cossacks, their spirit, culture, and semi-mythological scenes from their history. These scenes showed a remarkable intensity of color and swift dynamism. Repin was a well-known master of complex, multi-figure composition, yet his Cossack works demonstrated it to the fullest extent.

2. Repin Was a Beloved Art Teacher

Sadko, by Ilya Repin, 1876.

Rather quickly, Repin became famous as a prolific painter of history scenes and portraits. He worked tirelessly and carefully, often arranging dozens of figures in his compositions. The component of national culture was crucial for his work. He painted characters of different classes and ranks, showing the diversity and inequality of the time he witnessed.

In the mid-1890s, Repin started teaching at his alma mater, the Imperial Academy of Arts in Saint Petersburg. Dozens of artists went through his workshop, with many soon becoming equally famous as their teacher. Painters like Valentin Serov, Boris Kustodiev, and Zinaida Serebriakova were guided and trained by Repin. Unlike many other art teachers, he encouraged women artists to paint more and not give up art after getting married. Repin’s workshop had an unusually high number of women constantly present, sketching still-lifes and nude models. He was also fiercely protective of artistic innovation, supporting his avant-garde-leaning students from the wrath of the conservative Academy administration.

3. The Repins Were Unusually Progressive For Their Time

Grand Duchess Sophia at the Novodevichy Convent During the Torture and Execution of Her Servants and Her Troops, by Ilya Repin, 1879. Source: State Catalogue of the Russian Museum Fund

During his lifetime, Ilya Repin had a reputation of an eccentric and he was often quietly laughed at by his friends and acquaintances. Inspired by the example of his second wife, a suffragette and vegan activist Natalia Nordman, Repin adopted a plant-based diet. Nordman published an entire book of vegan recipes, including a rabbit stew made from carrots, cranberry steaks, and beetroot coffee. She believed a vegan diet was beneficial not only for one’s health and morals but for global welfare, potentially solving the world hunger problem. She refused to wear fur, stuffing her winter coats with pine needles. Ilya eagerly supported her beliefs, trying to promote them against his confused friends.

Repin’s visitors frequently complained about the family’s habits. Some of them snuck meat products to eat them behind closed doors. Another issue for unprepared guests was the absence of servants in the household. Instead, walls were covered with signs handwritten by Natalia reading Do It Yourself and Servitude is Shameful. According to contemporaries, Repin was completely mesmerized by his wife, although many saw her as too weird.

4. He Was an Incurable Perfectionist

Portrait of Writer Vsevelod Garshin, by Ilya Repin, 1884.

Ilya Repin had a rather annoying habit of endlessly retouching his works, even after they were sold. He was never content with the result, always suggesting a new color scheme, a new gesture, a new facial expression. Analysis of present-day paintings has revealed that many of his works exhibit traces of later modifications, occasionally undergoing radical transformations such as shifting the background tone from reddish ochre to blue. Not every correction was a successful one. Repin’s contemporaries sometimes complained that the artist had ruined some of his paintings with his excessive perfectionism.

The person who suffered the most from Repin’s aspirations was Pavel Tretyakov, the famous art collector and the founder of the Tretyakov Gallery in Moscow. Apart from a professional relationship (Tretyakov bought several dozens of paintings from Repin) the artist and the collector shared a long friendship. During his visits to the gallery, Repin always tried to repaint one detail or another and he was usually abruptly stopped by Tretyakov. Once, the painter snuck into the museum while Tretyakov was away and repainted several of his most famous works, including They Did Not Expect Him and Ivan The Terrible and His Son. Outraged, Tretyakov officially banned Repin from entering the gallery and even had to personally retouch some of his work.

5. Repin Was Sympathetic to the Revolutionary Cause at First

Refusal of Confession, by Ilya Repin, 1885.

Despite his status as a popular painter loved by the authorities, Repin was critical of the violence and oppression exerted by the Tsarist regime. In the late 1870s, he started his so-called Revolutionary series that focused on the fates of Russian revolutionaries, mostly belonging to the Socialist group Narodnaya Volya (People’s Will). The NV members planned to overthrow the regime by arranging assassinations of important government officials, including Tsar Alexander II who was murdered in 1881. Repin’s paintings showed the revolutionaries as people of immense willpower and intellect, ready to withstand torture and sacrifice their lives for a better future.

Yet, after the 1917 Revolution, Repin was utterly disappointed and disgusted. He remained in the newly independent Finland and refused to return to Saint-Petersburg. In his letter to a friend, he expressed his fear that the new Soviet state had no room for art museums anymore, but only for “museums of Revolution that were full of its heroes’ bones, their mutilated body parts, and the bloodied rags they wore.” His post-revolution paintings were equally pessimistic. One work depicts a Red Army soldier taking away a piece of bread from a whaling child.

6. Ilya Repin’s Paintings Keep an Unsettling Mystical Fleur

Ivan The Terrible and His Son Ivan, by Ilya Repin, 1885. Source: Wikimedia Commons

Repin’s works are infamous among art historians for the unnerving amount of tragedies and incidents associated with them, especially when it comes to the famous painting Ivan The Terrible and His Son. Soon after the artist completed the painting, his right arm became paralyzed, leaving him unable to paint. Repin then learned to paint with his left hand, fixing the palette with his neck. Over the following years, numerous reports stated the distressing effect of the painting on mentally unstable visitors.

In 1913, a young icon painter slashed the work with a knife, completely destroying the figures’ faces. The curator responsible for the painting’s safety soon committed suicide, and Repin had to paint the damaged segment anew. A century later, the work was attacked again, this time with a metal pole that broke the protective glass.

A string of mysterious deaths followed Repin’s creative pursuits. Many of his models, even young and seemingly healthy, died within weeks after working with him. Prime Minister Pyotr Stolypin, the architect of the unprecedented economic and social growth of the Russian Empire, was murdered in Kyiv soon after Repin finished his portrait. Composer Modest Mussorgsky died a few days after his painting was completed. However, Mussorgsky’s death was certainly not accidental since Repin visited him in a hospital recovering from an acute episode of alcohol delirium.