Ilya Repin article by Brandon
 

The recently released publication of the Portrait Society of Atlanta, "Folio" (Fall, 2002), contains my article on the Russian portrait painter Ilya Repin.

I am delighted to have been given the opportunity to write about one of my favorite painters.

Congratulations, Linda! I'd love to get ahold of a copy; is there a link to an on-line issue? Or would you mind reprinting to my email, since I'm not a member of the PSOA?

Linda,

How about if you post the article in the Artists of the Past section for all to enjoy?

Hi Mari and Cynthia,

Thanks for your comments. I'll find out whether it's okay with the PSOA to post the article and, if so, how exactly to go about doing that. In the meantime I will scan in some Repin paintings on that thread.

Anyway, I'll take this opportunity to put in a good word for the PSOA and its excellent Folio. They are an extremely well organized and helpful group.

As I was writing the article I was searching for an old photo of Repin wearing a palette that attached to his waist, a bit like a drum. If anyone who reads this has that photo, I would love to see it posted.

Linda,

I just received the current Folio, and was tickled to read your very instructive article on Ilya Repin. A wonderful article on a fascinating man!

Because we are safely tucked away here in the publication section, and I am newly back from a two week trip, I hope you won't mind if I wax nostalgic.

I was napping in the back seat of a car on the way to a beach outside of St. Petersburg when I opened one eye and caught a glimpse of a fence and Cyrillic writing by some estate.

"What's that" I asked groggily.

"It's Penates,"

"What's Penates?" I asked.

"It's Repina. It's Repin's estate". I sat bolt upright and demanded we go back.

"We can't, we're going to the beach".

"Forget the beach, we have to go back!"

They promised we would stop back on the drive home, and I pestered them silly to pack up lunch and head out. We finally arrived back at the Penates, but only had 30 minutes before it closed. We ran through the place, snapping pictures, and after the building closed, explored the grounds. Repin is buried back behind the house, a little stature atop his grave. There are gardens and wonderful walkways everywhere.

He lived in a studio which is also a house. (As opposed to a house with a studio) There were three studios, including one in the back which was a glassed-in gazebo attached to the house, and a bedroom and a kitchen.

I'm posting several picture of his house, a delightfully gingerbread concoction of spires, odd rooms, and fairy tale whimsy.

I still can't believe that if I hadn't awakened at the very moment, I would have missed one of the most exciting studios I have ever visited!

Peggy

More Penates, the glass gazebo studio:

Close up looking onto the gazebo studio:

Inside the gazebo studio:

Dear Linda,

The Folio arrived yesterday, and it was so good to read your delightful and informative article.

Congratulations! (Nice photo of you at the quick-draw, too!)

And Peggy, thanks for posting these marvelous photos. What a place!

Chris,

Thank you for your kind remarks! They are much appreciated.

Peggy,

These are terrific photos. What a studio! Lucky you to have been there! And that is one killer podium. Actually, it helps explain the low viewpoint of many Repin paintings. A lot of his sitters seem to have Peter the Great stature. I wonder - how many sitters fell off that podium?

Heavenly
 

Peggy,

That story is worth writing about - heavenly! This house and the whole scene must've been really something to behold - and truly to think that you woke up as if on cue?

I love all the Russian and Polish art of the 19th and early 20th century - As you know I was not familiar with Kramskoy until you introduced me to his work - and I am so thankful to you. I have a print of the unknown "lady" looking at me at all times in my studio to keep me halfway on my toes.

Linda,

I have not seen your article yet and look very forward to reading it.

Art history rules,
Denise

This information comes from a book called: Portraiture in Russia: XX Century

Ilya Repin and Leo Tolstoy were close friends for many years. Apparently Repin had visited Tolstoy's home quite frequently and had painted numerous portraits for him. This particular one shows Tolstoy in his garden. His being barefoot, thus the title "Leo Tolstoy Barefoot" reflects the writer's spiritual quest.

A quote by Repin about Tolstoy: This portrait, by the way, took 10 years before it was completed. Karin, I think we found someone who surpasses the time you take in achieving perfection.

If my memory serves me right Tolstoy has written indirectly about Repin in "Anna Karenina."

Linda:

Repin is my favorite, after I say "Great minds think alike", I have to be on sky, or heaven for 24 hours. When I pass over the longitude of Phoenix city, (this is one of few cities which names shared with my homeland), I greet you! And on Seattle, to Michele too!

Congratulations, Linda. I hope to get to read the article soon!

Congratulations Linda. Someone new to me, to learn about. I hope you can reprint the article.

Nearly three years since I've posted this...
I stumbled across this photo in a book I received as a Christmas present. I was starting to think I had imagined this palette.

Linda, is there a way we can see the article if we don't belong to the Portrait Society of Atlanta? I would love to read it. My guess is that you are as good a writer as you are a painter (among your other talents and accomplishments) and I don't want to miss your insights on Repin.

Peggy, wow! What a GORGEOUS studio/house! Victorian architecture is my favorite style, as Linda (and whoever comes to visit me) knows. Thanks so much for posting these wonderful photos. It was meant to be that you woke up at just that moment.

Alex, since I wrote that article a few years ago I've been lucky enough to see several Repin paintings hanging in museums. I was so moved by their brilliant execution and vivid sense of presence - they nearly floored me. I actually had a museum guard come over and ask me if I was alright.

I am currently in a "I am not worthy to clean his brushes" state of mind, so I need to read the article again to see whether I still think it's good enough to show people.

The presence aspect - that feeling of connection - that's what portraiture is all about, it's not just about technique or style or flash or color or marketing or whatever it is we all discuss here.

Anyway, thanks for giving me the excuse to pop this thread up again, since I'm hoping somebody will email me and offer to make a Repin palette for me. (I'll pay, of course!)

Linda,
it would be easy for any handyman, or women, to make this Repin Painting Apron for you.
Allan

The Rahbekrepinpaletteapron is beyond my abilities, Alan, but I'm sure that it would be easy for you to do... . ;)
Remember that here in America we will also need a hole to put a coffee cup into.

Apply for a patent
 

Hey, Linda, great idea!

The only drawback: whenever I put my coffee cup down near my palette, I end up washing my brushes in it. But maybe that's just me.

Maybe I should talk to Starbucks about making some of these. They sell all manner of "coffee accessories", it's about time they sold something useful!