Skip to main content

Ilya Repin, 'Woman with a Dagger', 1875



Although the eye within the canvas does not acknowledge the viewer, the presence of this figure is enough to command anyone's attention. The intensity of the woman's gaze fits into the pictorial scene of Sadko and the Underwater Kingdom for which this painting is a study. This complicated, Orientalising piece based on a folkloric tale was not one that Ilya Repin was truly satisfied with, but was well regarded by contemporaries. Even in this isolated study the viewer quickly realises a mythologising subject, with illusionistic hues of blue melting into the background that could reference the underwater scene of the final painting. Repin also used the figure for a ceramic design, highlighting his reuse of a figural type both in different contexts and media. The figure could equally be based on the famous Ukrainian beauty Sophia Dragomirova, with her noticeable thick eyebrows and dark hair. Repin painted Sophia's portrait, but the connection to this study is only speculative. 

Producing a dagger, this female figure could slot into any feminist canon of art history. With her dress opening at her heart, it emphasises the underlying capacity for violence this woman holds. She is seemingly dressed like a priestess and could easily connote a sorceress or an enchantress, such as Medea. Her caressing of the dagger furthers this connection. At this point in artistic Britain, for instance, such female figures were popularly rendered, for example Frederick Sandy's portrayal of Medea with her thick dark hair and white costume that recall this work of Repin. The artist did in fact travel to London, and witnessed exhibitions at the Royal Academy, so would have been familiar with these Western types. However in his painting, the female figure is no femme fatale but with her golden headdress she becomes a symbol of power. The quick, confident brushstrokes of the young Repin produce a shimmering effect to the gold, which is picked up in flecks of white highlights in the figure's costume. Her pose is one of commandment, of strength and superiority. Looking onwards to an unknown location, she is akin to Classicising sculptures of Roman emperors, and even prefigures propaganda of the Soviet era where the idea of thoughtfully looking into the distance became a gesture of intellect, power and domination. 

The actual features of the figure here are quite androgenous, with thick eyebrows, a strong jaw, down turned lips and a Acquiline nose. This links to the overtly masculine pose with its accompanying connotations of strength. Equally the quickness of brushstroke render the figure's hair in thick tendrils, almost recalling the snakes of Medusa's head. However this is where Repin's interest in the Orientalising genre comes to the surface. By subverting the traditional Western notions of beauty - light skin and light hair - perhaps this piece is a subtle comment on Repin's heritage. He was after all not a Russian artist, but was born and raised in Ukraine, learning the ways of icon painting there. Subsequently adopted as 'Russia's greatest realist' he was always careful to subtly reference his Ukrainian and folkloric roots. Repin recasts the Western notions of beauty, whilst seemingly conflating Orientalist modes with a distinct attitude to brushwork and facture, in this study for his wider artistic endeavours. 

Comments

Post a Comment

Popular posts from this blog

Ernst Barlach, 'The Avenger', 1914

  On the advent of both the First World War and the artistic movement known as Futurism, Ersnt Barlach cast this work in bronze. The eye picks out an angular, horizontal form, a sense of hurried pace and strong facial features to this work by the German Expressionist artist. This piece is highly interesting when discussed in terms of the artist's oeuvre - Barlach entered the First World War with a clear attitude of patriotism. The sculpture reflects that, as the figure seemingly thrusts forward wielding a sizeable weapon above his head, leading the charge head on. Describing the sculpture as his 'raging Barbarian' it is clear that Barlach wanted to present an emotionally charged figure. Perhaps it is even a self portrait, with Barlach picturing himself as the hero. The artist did in fact serve briefly as an infantry officer. However realisation soon dawned and patriotism quickly dwindled. All of Barlach's sculptures from this point onward are influenced by the horror an...
Post a Comment
Read more

John Everett Millais, 'Peace Concluded', 1856

  My eye is drawn to the copy of The Times clutched in the hands of the officer. The white of the figurine on the man's knee and the white of his wife's sleeves all serve to make the white paper stand out even more on the canvas. As the title of the painting suggests, this is about the end of the Crimean War, seemingly depicting a soldier who has just returned home, surrounded by his family, but the mood is perhaps less euphoric than you might expect. The soldier seems somber and weary, and his wife has a look of concern. Although on the surface it seems to be quite a harmonious composition representing a close knit and traditional family, the positioning of the man is odd. It is his wife who takes her place at the apex of the triangular composition, the soldier is reduced to an emasculated role, perhaps an invalid, as suggested by the blanket over his legs. Her face is passive, but not exactly positive. With her arms draped around her husband, she looks posed, dutiful but not...
Post a Comment
Read more

Tondino di Guerrino, 'Crucifix', 1325-30

  The monumental crucifixes of Cimabue, Giotto and their followers, and their transition from Byzantine forms towards increased dynamism and naturalism, have been well studied. Equally, smaller works by French Gothic practitioners in ivory are now beginning to permeate scholarship, mainly through the detailed exploration by Sarah Guerin. The goldsmiths of Siena do not command as much attention. Yet, they hold the key to artistic synthesis in the early fourteenth century. This is proved by the small processional crucifix currently at the National Gallery's iteration of Siena: The Rise of Painting 1300-50, attributed to Tondino di Guerrino.  Tondino combines enamel with an intricate gold sculptural presentation of the crucified Christ in this small, portable work. Instantly, the eye is drawn to the central element - the thin, skeletal body hanging from two stretched, emaciated arms. Christ's torso is drawn inwards, his ribs exposed, mimicking a sharp intake of breath. The downwa...
Post a Comment
Read more