Abstract
The 19th century in Europe was characterized by the canonization and de-canonization of various painters. My paper deals with the failure at 1875 the Parisian Salon of a painting by the great Russian realist Ilya Repin (1844–1930), who exhibited a social genre work – a cafe scene – to a French audience for the first time. That same year another Russian painter, Alexei Harlamoff, (1840–1925) also participated in a Parisian salon with a great success. for This striking difference in reception was due to the reactions of two of the most significant figures associated with the Russian national culture heritage: Ivan Turgenev, the leading realistic author and cultural icon, and culture critic Vladimir Stasov. I analyze portraits of Turgenev by Repin and Harlamoff to demonstrate the essential disparity between the approaches of the two artists, both of whom were graduates of the Russian Academy of Arts. I contend that rejection of Repin’s Parisian Cafe by the two Russian ideological groups had a profound influence on the canonization of Russian realistic art and its visibility beyond the Russian Empire.
Author Information
Ariela Shimshon, Ben-Gurion University of the Negev, Israel
Paper Information
Conference: PCAH2022
Stream: Arts - Social
This paper is part of the PCAH2022 Conference Proceedings (View)
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To cite this article:
Shimshon A. (2022) East Versus East: The Failure of Ilya Repin’s Parisian Café at the 1875 Paris Salon ISSN: 2758-0970 The Paris Conference on Arts & Humanities 2022 Official Conference Proceedings https://doi.org/10.22492/issn.2758-0970.2022.12
To link to this article: https://doi.org/10.22492/issn.2758-0970.2022.12
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