Chapter Les tableaux maudits, en France et en Russie
I. Repin’s “Ivan the Terrible and his son”, exhibited in 1885, in a very tense social and political context, sparked off fierce reactions. While the Itinerant painter Kramskoj is enthusiastic, the ge-neral-prosecutor of the Holy Synod, K. Pobedonoscev, finds the painting “simply repulsive”. In Franc...
I tiakina i:
| Kaituhi matua: | |
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| Hōputu: | Online |
| Reo: | Wīwī |
| I whakaputaina: |
Firenze University Press
2022
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| Ngā marau: | |
| Urunga tuihono: | ONIX_20220601_9788864535074_36 |
| Ngā Tūtohu: |
Kāore He Tūtohu, Me noho koe te mea tuatahi ki te tūtohu i tēnei pūkete!
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| Whakarāpopototanga: | I. Repin’s “Ivan the Terrible and his son”, exhibited in 1885, in a very tense social and political context, sparked off fierce reactions. While the Itinerant painter Kramskoj is enthusiastic, the ge-neral-prosecutor of the Holy Synod, K. Pobedonoscev, finds the painting “simply repulsive”. In France a similar scandal was caused by Gericault’s “Raft of the Medusa” (1819). It represents the last instants of the martyrdom of the survivors of the Medusa’s shipwreck (1816). Repin’s painting, unlike that of Gericault, keeps on arousing a great hostility nowadays in conservative Russian circles. |
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