Slavic composers (Collection of Russian, Polish and Czech musicians) Ilya Repin (1844-1930)
Ilya Repin – Slavic composers (Collection of Russian, Polish and Czech musicians)
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Painter: Ilya Repin
Location: The Moscow State Conservatory, Moscow (Московская государственная консерватория имени П. И. Чайковского).
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Before you is a group portrait of Slavic Composers, painted at the commission of one of Moscow’s most successful nineteenth-century businessmen, Porokhovshchikov. Ilya Efimovich Repin was an outstanding artist who undertook the painting at the height of Slavophilism, a current of literary and philosophical thought focused on emphasizing Russian cultural identity, a sharp difference from the Western world. The so-called Slavic Brotherhood of Composers is depicted in a painting by Repin.
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Description of the painting "Slavic Composers" by Ilya Repin
Before you is a group portrait of Slavic Composers, painted at the commission of one of Moscow’s most successful nineteenth-century businessmen, Porokhovshchikov. Ilya Efimovich Repin was an outstanding artist who undertook the painting at the height of Slavophilism, a current of literary and philosophical thought focused on emphasizing Russian cultural identity, a sharp difference from the Western world.
The so-called Slavic Brotherhood of Composers is depicted in a painting by Repin. It is known that Repin, who had recently graduated from the Imperial Academy of Fine Arts, received some assistance from Vladimir Stasov, who selected suitable portraits of composers who had already died or who, for whatever reason, could not take their own part in posing for the artist.
Most of the work on the group portrait took place in St. Petersburg, but the canvas was already finished in Moscow and is now in the State Conservatory in the capital. Among those portrayed are Mikhail Glinka in the foreground, squinting straight at the viewer, next to him are Milili Balakirev, Vladimir Odoevsky, and Nikolai Andreyevich Rimsky-Korsakov. Behind the group in the foreground you can see Alexander Dargomyzhsky, and behind him Ivan Fyodorovich Laskovsky, to the right of the composer is Alexei Fyodorovich Lvov in his ceremonial uniform, listening to Alexei Verstovsky speak.
At the piano you can observe the Rubinstein brothers and Serov. The group in the "depth" of the portrait is formed by Gurilev, Bortnyansky and Turchaninov. Frederic Chopin and Oginsky form the background, and Lipinsky is at the door. The left side of the portrait forms a group of Czech composers - Napravnik, Smetana, Bendel and Horák. This choice of composers is dictated primarily by the customer’s personal musical preferences, and most of the musicians are painted from their portraits.
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"Славянский композиторы", (1871-72 гг), И. Е. Репин. Центр картины – русские композиторы: на первом плане М. И. Глинка беседует с М. А. Балакиревым, В. Ф. Одоевским и Н. А. Римским-Корсаковым (в военной форме). Позади этой группы сидит на стуле А. С. Даргомыжский, за которым виден И. С. Ласковский, справа А. Ф. Львов (в придворном мундире), слушающий А. Н. Верстовского. У рояля – братья А. Г. и Н. Г. Рубинштейн, между А. Г. и Львовым стоит А. Н. Серов. В глубине за ними группу образуют А. П. Гурилев, Д. С. Бортнянский и П. И. Турчанинов. Польские музыканты – С. Монюшко (крайний справа), Ф. Шопен, М. Огинский и К. Липиньский (на фоне двери). Левый край – чешские композиторы Э. Направник (крайний), Б. Сметана, К. Бендель и В. Горак. Из собрания Московской государственной консерватории.
In 1871, the owner of the Moscow hotel Slavyansky Bazaar, Porokhoshchikov, wanted a painting depicting Slavic composers from different eras and countries. He approached various renowned artists, but all of them, upon hearing about such an unusual commission, demanded exorbitant prices. Then, the entrepreneur suggested that the young Repin, who was in dire need of money, paint it. The 1500 rubles offered by Porokhoshchikov seemed like a fortune to the artist, and he accepted the commission without being surprised or even finding its strangeness absurd. After all, the composers who were to be depicted lived in different countries, many at different times, and could not possibly have met together. For example, Bortnyansky died in 1825, and Oginsky in 1833. Rimsky-Korsakov and Balakirev had not even been born yet. In short, there was a clear violation of the space-time continuum :)
The list of composers for Porokhoshchikov was compiled by Nikolai Rubinstein, guided by his own personal musical preferences. Thus, it did not include Mussorgsky, Borodin, or Cui. Even Tchaikovsky, who was adored by all of Moscow at the time, was conspicuously absent. And who was honored to be depicted? Lets take a closer look at the painting Slavic Composers. In its center are Russian composers: in the foreground, M. I. Glinka is conversing with M. A. Balakirev, V. F. Odoevsky, and N. A. Rimsky-Korsakov (in military uniform). Behind this group sits A. S. Dargomyzhsky on a chair, behind whom is I. S. Laskovsky, to the right is A. F. Lyov (in court attire), listening to A. N. Verstovskiy. At the piano are the Rubinstein brothers, A. G. and N. G., between A. G. and Lyov stands A. N. Serov. In the background behind them is a group consisting of A. P. Gurilev, D. S. Bortnyansky, and P. I. Turchaninov. The Polish musicians are S. Moniuszko (far right), F. Chopin, M. Oginsky, and K. Lipinski (in the background of the door). On the left edge are the Czech composers E. Navratil (farthest to the left), B. Smetana, K. Bendel, and V. Gorak.
The painting was a success. For the grand opening of Slavyansky Bazaar, all of Moscows aristocratic society gathered. Repin and the client received many congratulations. However, after seeing it, Turgenev called it a cold vinaigrette of living and dead in a letter to Stasov. In another letter, he remarked: Frankly speaking, I cannot imagine a worse subject for a painting – and I sincerely regret it: here you inevitably fall into allegory, into officialdom, into banality... Currently, the painting is located at the Moscow State Conservatory. I dont know whether it is on public display there; Muscovites may try to check and see it in person.
Спасибо! Замечательно!
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The arrangement suggests a hierarchical structure. Several men stand prominently, their postures conveying authority or engagement in a significant discussion. One figure, positioned slightly to the right of center, is particularly noticeable due to his more relaxed stance and open expression; he seems to be actively participating in the dialogue. The other figures are arranged around him, some leaning forward as if listening intently, others standing at a slight distance with expressions that suggest contemplation or polite observation.
The hall itself contributes significantly to the overall atmosphere. Its architectural details – the tall columns, ornate moldings, and recessed doorway – imply a space of cultural significance, perhaps a formal gathering place for intellectuals or artists. The depth created by the receding perspective draws the viewers eye towards the back of the room, where additional figures are visible, further emphasizing the scale and importance of the event.
The color palette is restrained, dominated by muted browns, grays, and creams. This limited range contributes to a sense of formality and seriousness. The men are uniformly dressed in dark suits and formal attire, reinforcing the impression of a dignified occasion. Subtle variations in skin tone and facial expressions add depth and individuality to each portrait.
Subtly, theres an interplay between light and shadow that enhances the drama of the scene. Areas of deep shadow contrast with patches of bright illumination, drawing attention to key figures and creating a sense of mystery. The overall effect is one of quiet reverence and intellectual exchange, suggesting a moment of shared purpose among individuals united by a common pursuit – likely artistic or cultural endeavor.