“To the war”, 1888, Konstantin Apollovich Savitsky – overview of the painting
- Posted by Konstantin Apollonovich Savitsky
- Museum: Russian Museum
- Year: 1888
Overview of the painting :
For the war – Konstantin Apollovich Savitsky. 1888. Oil on canvas. 207.5×303.5
The display of the dramatic events of peasant life, the tendency to create large epopoe paintings, the emotional tension of the scenes are distinguished by the work of Savitsky, the master of complex multi-figure compositions. An important role in the realistic orientation of his art was played by the acquaintance with I, which took place during the years of study at the Academy of Arts. N. Kramsky, who became an ideological mentor and friend of Savitsky.
Shortly after the formation of the Partnership of Mobile Art Exhibitions, Savitsky declared himself one of its most active members. In many ways, continuing the accusatory line of the “sixty”, Savitsky at the same time sought to create positive peasant images. This important trend in the development of the art of critical realism of the 70s and 80s was reflected in the picture “To the War.”. The idea of the picture was inspired by the impressions associated with the Russian-Turkish war of 1877-1878. The artist worked on this huge canvas for almost ten years. The first version of the picture, which reached us in fragments, was completed in 1880, but he did not satisfy the master. Over the next eight years, Savitsky worked on the second version of the picture presented here.
Typical scenes of war wires for war years are interpreted as folk grief. The artist primarily sought to convey the mood of hopelessness, to show the feelings of soldiers and their loved ones who were seeing off at the moment of separation before sending the military echelon. Savitsky is building a composition, perhaps not without the influence of the picture “Ur. Streletsky execution” B. AND. Surikova.
Several groups have been identified in the crowd, in each of which the mental state of the characters is expressed differently. There is no single center in the picture, no group dominates, all of them are internally interconnected, subordinate to the common idea and only in the aggregate completely reveal it. The artist transfers numerous shades of personal human experiences from the frenzied despair of a woman separated from her husband to the silent grief of an old woman who has fallen to her son’s chest. The image of this middle-aged, surrounded by family, severe, restraining his feelings of a peasant is distinguished by a convincing psychological characteristic. Among the recruits, a young soldier was especially singled out, who at a loss turned into a wife who was tearing apart.