“Conclusions of the recruit,” Ilya Repin – overview of the painting
- Posted by Ilya Efimovich Repin
- Museum: Russian Museum
- Year: 1879
Overview of the painting :
The wires of the recruit are Ilya Efimovich Repin. 1879. Oil on canvas. 143 x 225 cm
Ilya Repin has many vivid original paintings that interest and delight us so far. The painter has always been in search of interesting stories, talking images and interesting decorations. That is why in his works there is always a whole story that is helpfully unfolding in front of his viewer.
In 1878, a painter with his family moved to Moscow, and a year later Repin finished the painting “Conclusions of a recruit”, which is a multi-figure composition. The idea of work comes to the painter in Abramtsevo, where his close friend, philanthropist Savva Mamontov, lived. Walking in the surroundings, the attentive gaze of Ilya Efimovich continually grabbed pictures of rural life.
In this picture, the author captured a remarkable action – the family and neighbors are escorting the young guy to serve in the army. The center of the canvas is the main character, a young man-a rookie. Repin masterfully emphasized the climax of the youth’s family with bright light, and placing this group opposite the door open. Moreover, this open door is perceived by us symbolically – as a window to an unknown life, through which a guy who is ready to pay tribute to his homeland must step over.
As in many paintings of the mobile phones, all the heroes are busy with their own business: the mother hugs his son, falling on his chest, his father is bewildered, his assistant is standing, the old man is holding the horse for reins, waiting for the wires to end, the rural people are looking at the family from afar, and even the dog came running to say goodbye. And in the middle of this whole hectic scene is a young man in good clothes and new bast shoes, ready to serve. You can feel any of the heroes – Repin wrote everyone so carefully, endowed with emotions and a certain action.
I would like to note that there is no critical subtext in the picture – the author is not trying to denounce, pose any pressing issues related to the life of the peasants. Repin simply created a canvas shrouded in a sad but bright mood full of soulfulness, intimacy and sentimentality.
The work was very loved by the common people who could see it at traveling exhibitions, because a story familiar to them unfolded here. Not being a socio-critical picture, the canvas still deserved positive feedback from critics, strengthening the position of Repin in an artistic mobile society.