Negress Ilya Repin (1844-1930)
Ilya Repin – Negress
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Painter: Ilya Repin
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"The Negro Woman," so different from Repin’s usual form of writing, was created by him in Paris under the influence of the works of the famous Fortuny, whom the author adored. Repin made no effort to imitate his idol, but at the same time reached out in his art for the inaccessibility of the sense of form that Fortuny mastered masterfully. The artist created the portrait with care for his sitter.
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A description of Ilya Repin’s painting The Negro Woman
"The Negro Woman," so different from Repin’s usual form of writing, was created by him in Paris under the influence of the works of the famous Fortuny, whom the author adored.
Repin made no effort to imitate his idol, but at the same time reached out in his art for the inaccessibility of the sense of form that Fortuny mastered masterfully.
The artist created the portrait with care for his sitter. He saw in her not exoticism, but the beauty of the soul. Such unusual for him writing forced more painstaking selection of colors and he managed to achieve the ideal combination.
The painting remained unknown in Russia for a long time, until 1939, when it was given to the Russian Museum. Critics were in no hurry to admire Repin’s creation, and evaluated the "Negro Woman" cautiously, even cautiously. Many did not perceive the work as a painting, calling it a sketch.
The author himself estimated his work enthusiastically. He introduced something new into his work, and the result was stunning.
Repin painted "Negro Woman" spiritualized beautiful woman who has nothing to do with European standards, but with a clear sense of dignity and emphasized elegance.
Love for the common man, respect for him has always been inherent in the work of Repin. They have not betrayed him and in African themes. Artist all his life was true to its principles and deeply appreciated the democratic nature of national art.
Few artists of the past era can be compared with Repin. Only he managed to convey exactly the reality surrounding him, framing its fate of the people and, at the same time, masterfully wielding a brush.
"The Negro Woman" is one of Repin’s last successful works. After 1880 his creative activity began to fade, he continued to work hard, but created no more masterpieces.
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красивая
Не бывает некрасивых женщин, бывает мало веществ.
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To her left, a large, ornate hookah with a green hose is prominently displayed, suggesting a setting associated with leisure and possibly sensuality. On the rug before her is a silver tray holding a golden coffee pot and a small cup, further enhancing the atmosphere of exoticism. Her gaze is directed towards the viewer, conveying a sense of calm and self-possession.
The painting can be interpreted through several lenses. Historically, it falls within the Orientalist genre, a Western artistic tradition that often exoticized and stereotyped the cultures of the Middle East and North Africa. The portrayal of the woman, while seemingly dignified, can be seen as an objectification of a foreign subject for Western consumption. The rich details of her attire and the opulent accessories, like the hookah and jewelry, serve to cater to European fantasies of Eastern life, often emphasizing sensuality and decadence.
The title itself, Negress, is a term that carries significant historical baggage, being a derogatory and dehumanizing label. Its use by the artist – or whoever titled the work – further underscores the power dynamics and racial prejudices inherent in Orientalist art. The painting, therefore, not only presents a visual scene but also invites contemplation on themes of racial representation, cultural appropriation, and the colonial gaze in art. The womans direct gaze challenges the viewer, potentially subverting the passive objectification common in such depictions and asserting a sense of agency, despite the surrounding context.