Energy is controlled and methodical but pushes to the left, off the canvas
resulting in asymmetric yet deliberate formal balance. The position and angle of
the haulers emphasize their movement. This, combined with the painting’s photographic
qualities and the direct gazes of the subjects places the observer at a cold
distance void of the drama characteristic of works by artists such as Kollwitz,
who do more to reach out to the observer and seize their empathy. Multiple functions
are addressed by this work: The documentation of a specific event in history,
release on the part of the artist and, probably most influential of all, an
impersonal attempt at impacting the observer.
The optical reflection of reality is characteristic of earlier works of the century by artists such as Courbet or Turner. Repin uses relative value restriction to define subject against background. Effortless depth is based on a form of convergence, diminution, adjustment in detail relative to ground and value-based atmospheric perspective. Relative formal development and a sense of “value order” (not to mention recognizability) place primary focus on the forward-leaning block of subjects. The steady repetition of their forms directs the eye to the focus of their labors. The only source of drama is the masterful choice Repin used in choosing canvas size and orientation.
As is often the case with artistic movements and trends, works such as this were a reaction against convention. A defining characteristic of Russian Realism, to which this work belongs, was that it was a societal and cultural reaction rather than simply formal or stylistic. The 1861 abolition of serfdom in Russia coincided with a breaking of state control of artistic expression. The cultural break from convention was that subject matter became more responsible and socially relevant. The stylistic break was that art was no longer regarded as a passive activity; as the title of the movement suggests, realism in visual expression became favored.
The optical reflection of reality is characteristic of earlier works of the century by artists such as Courbet or Turner. Repin uses relative value restriction to define subject against background. Effortless depth is based on a form of convergence, diminution, adjustment in detail relative to ground and value-based atmospheric perspective. Relative formal development and a sense of “value order” (not to mention recognizability) place primary focus on the forward-leaning block of subjects. The steady repetition of their forms directs the eye to the focus of their labors. The only source of drama is the masterful choice Repin used in choosing canvas size and orientation.
As is often the case with artistic movements and trends, works such as this were a reaction against convention. A defining characteristic of Russian Realism, to which this work belongs, was that it was a societal and cultural reaction rather than simply formal or stylistic. The 1861 abolition of serfdom in Russia coincided with a breaking of state control of artistic expression. The cultural break from convention was that subject matter became more responsible and socially relevant. The stylistic break was that art was no longer regarded as a passive activity; as the title of the movement suggests, realism in visual expression became favored.
No comments:
Post a Comment