Art Attack Ateneum! ILYA REPIN: Portraits of Intelligentsia, Familia, Reina & Tsar

02-29.08.2021 ATENEUM, Helsinki 

 

ILYA REPIN (1844–1930) is prominently known as a master of psychological portrayals of people and depictions of Russian folk life, based on the liberation of serfs in 1861, as well as the intelligentsia of the era, and the rise and fall of the emperor’s absolute power and the transition to Soviet Communism in 1918. ATENEUM Finnish National Gallery has been promoting the enormous REPIN curtain on the exterior wall since April, yet due to the soft lockdown regulation and the upcoming constant UEFA football events, not until this August have I visited REPIN exhibition, which displays more than 140 masterpieces, realised by the ATENEUM and PETIT PALAIS (Musée des Beaux-Arts de la Ville de Paris/Paris Musées), in collaboration with the State Tretyakov Gallery and the State Russian Museum. 

 

REPIN exhibition masters the whole third-floor galleries at ATENEUM, where Gallery 3.1 to 3.13 spanning more than 60 years of REPIN’s lifetime, categorizes into Studies & Paris, Repin the Draughtsman, Early Folk Scenes, Artist Portraits, Later Drawings, Family, Social Criticism, The Full Spectrum of Russian Culture, Portraits of Intelligentsia and Aristocracy, Challenges of the New Century, Time in Terijoki and Finland—the exhibition opens up Gallery 3.1, with width 230 x height 322 meters—Sadko in the Underwater Kingdom (1876), which Repin made his academician. Based on the Novgorod epic poem (East Slavic Bylina), Repin painted this monumental canvas work when he was a fellow of the Imperial Academy of Arts in France. Being an advocate for realism, Repin was aspiring to achieve maximum authenticity, studying maps of the sea world, sketching the sea-life of Normandy and touring Crystal Palace in London for the realization of Sadko, while from the comparative points of view, that literary painting conveys a touch of Art Nouveau, much exquisite in the comparison than his later {Social Criticism} or {Challenges of the New Century} era. 

 

Having been trough the turbulence of revolutions, ILYA REPIN was a prolific draughtsman of his time, Barge Haulers on the Volga 1870-73, the horizontal composition with sepia hues, depicts 11 men, juvenile or elder, hollow or fatigue, physically are at the point of collapse from exhaustion, oppressed by heavy, hot weather. This 131.5 x281 cm oil on canvas is a condemnation of profit from inhumane labor, immediately outstands after the fairy tale of Sadko in the Underwater Kingdom at Gallery 3.1, plunges head first into the very heart of the viewers’ interests and human labours’ oppressive reality.

 

Due to Repin’s continuous infatuations, his marriage with Vera Shevtsova (1855-1918) turned to the split end. Nevertheless, the portraits of four children of Repin and Shevtsova, at Gallery 3.6, pass on uncountable innocent smiles and whimsical moments, some of the family portraits, the monotone of background and the focal light focusing on the subject being gazed, are highly similar to Johannes Vermeer’s Girl with a Pearl Earring (1665). By joining the art academy group Peredvizhniki, The Wanderers, the access enable to forge the deep friendship with those distinctive individuals, Repin nearly precisely, and always honestly, captures the likeness of his sitters and the truth emotions of intelligentsia and aristocracy, from pianist Sophie Menter, Author Leo Tolstoy to Countess Natalia Golovina, conveying a believable and intimate sense of they were inside.

The success of portrait works among the intelligentsia promotes Repin into the core of political circles of Russian Emperor, yet he followed keenly the social movements of his day that sought to increase the civil rights and curtail the power of the emperor. Even though Repin supported liberal reforms, as his themes in paintings, however, the assassination of Alexander II turned the artist away from radicalism. At Gallery 3.8 {Social Criticism}, the touch and the techniques on canvas of Annual Memorial Meeting Near the Wall of the Communards of the Cemetery of Père Lachaise in Paris (1883) reminds me of the impressionism masterpiece The Rue Montorgueil 30th of June 1878 by Claude Monet (Musée d’Orsay, Paris), and Repin’s Before the Confessions (1879-85) rediscover the focal lightening of any Rembrandt’s self-portraits. Repin recorded the emotional tension between revolutionaries and the complacent populace is palpable in his paintings, which are also ambiguous in that it is difficult to tell whether whth which side the artist himself stands for, just as Vincent Van Gogh commented on Rembrandt—that the painting goes so deep into the mysterious that there are no words in any language—a genre of literary justice called ‘Repin criticism’. 

 

At Gallery 3.9 {The Full Spectrum of Russian Culture} the enormous paintings such as Zaporozhian Cossacks Writing a Mocking Letter to the Turkish Sultan (1880-91; 203 x 358cm), was received with unalloyed enthusiasm, whereas Religious Procession in the Kursk Governorate (1881-83; 175 x280cm) awakened resentment. The environment of Kursk shows a seething, huddled mass attending the annual Eastern Orthodox religious procession, which carries the icon Our Lady of Kursk. Using the horizontal composition, behind the Orthodox priests, follow a crowd of peasants, beggars and cripples, police, military officers and provincial elite. The painting is a continuation of Repin’s social criticism and highlights perceived abuses by both church and state of Russia. According to art critic Vladimir Stasov, this painting presented viewers with “Russia in all her glory and everyday misery”. The most interesting is, that right next to the huge scale of Kursk, the curator of ATENEUM displays a zoom portrait of a disabled young man, who is, the exact the same character at the front row of fellowship of Religious Procession in the Kursk Governorate, as if the curators try to show to the viewers, that under Repin’s lenses, the unknown citizen still tells a part of difficult history by his own way. 

The decline of the Russian emperor’s authority ultimately led to the revolutions in 1917, and the new trend of neo-romantic art society began undermining Repin’s position as a pioneer of realism. Repin responded to those challenges by renewing his style in a more spontaneous direction, making use at times of intense impressionistic brush strokes and thick layering to convey emotional impact. At Gallery 3.11, Demonstration on October 17, 1905 (1907-11) owns surprisingly similarity of Georges Seurat ‘s (1859-91) neo-impressionism technique—that some tiny juxtaposed dots of multi-colored paint allow the viewer’s eye to blend colors optically, rather than having the colors physically blended on the canvas.

 

The final years of Repin’s timeline resides at Terijoki, Finland where the artist remained an émigré and forged ties with the local art world. From Gallery 3.9 to 3.13, where exhibit most of Repin’s social circles in Finland, and in recognition of which a gala dinner in his honour was held in Helsinki. The viewers even witness several unfinished, under process paintings deliver the unconditional circumstances that even the great master must give in—the death. Repin remained eternally in the yard of his studio home in Kuokkala, near Jyväskylä, Finland. 

 

REPIN Exhibition follows the artist’s timeline to express the chronicle of art creation of a master, and the information panel of each painting is in detailed knowledge. Among the larger galleries, the tiny hallways creatively display Repin’s sketches, showing the different media and styles that Repin adapted. The very unfortunate were, that due to the limited opening time, the queuing and the reservation regulation differ day by day, at my last attempt in late August, by showing the museum card did not allow my entrance. Secondly, REPIN exhibition perhaps is not the ideal occasion to take the kids aged under 15, the infant in some parents’ arms will only cause the most unpleasant experience to every single individual in the quiet gallery. 

Fashion Fun Jyväskylä! Chanel Le Twilly, Zara Ivory Tweed & Baggy Denim, Valentino Garavani Rock Stud at Jyväskylä Garden Party

July 25-27 in Jyväskylä, Finland

 

Athens of Finland, hometown of architect Alvar Aalto, and the host of World Rally Championship, Jyväskylä provides not only the centre of education and arts in lakeside region of Finland, but the city also presents the lovely greenery to enjoy with beloved ones: perhaps a cone of ice sherbet, a bite of salmiakki, or just a relaxing time of afternoon tea. 

 

Joining the baby shower garden party, the outfits of the day are ZARA ivory half-sleeve tweed jacket and vintage washed baggy denim. With 100% cotton exterior tweed, the shoulder pads and 100% viscose interior lining, my wearing of a contour lingerie under Zara ivory tweed shows a vintage Yves Saint Laurent rive gauche silhouette. Together with the rather former short-sleeve tweed jacket, contrasting the style with a vintage washed baggy denim, is always the casual balance; especially at this garden party, surrounded with several kids and infants, paring a pointed-toe low heel slippers is ultimately a brilliant idea. 

 

Established in 1960 by VALENTINO GARAVANI and his business partner Giancarlo Giammetti, VALENTINO remains impeccably detailed on clothing and footwear, both epitomizes glamour and romance. Since 2008, Creative Director Pierpaolo Piccioli unfurls a new chapter—a continuous revelry of beauty and self-expression, primarily ROCKSTUD collection—in mesmeric silhouettes, ornate textiles and splashes of radiant color, the comfy of the design outstands for multiple occasions as well. Burgundy grainy calfskin flat slippers own its slight heels and shining gold-tone studded rocks, which, match perfectly with Zara ivory white tweed and vintage washed baggy denim: a rather relaxed or, a moderately puffy outfits shrink downwardly, until a sharper edge of pointed-toe le rouge glistering speaks luxury loud. 

 

As for accessories, in order to match the gold-tone buttons from Zara ivory tweed jacket and the shining VALENTINO ROCKSTUD burgundy slippers, I mix and match HELGE quartz crystal jewelry alonside with LOUIS VUITTON yellow copper V necklace, also I mingle CHANEL Baroque AW17 resin stone and ivory dropped pearl earrings plus CHAO&EERO 18K gold bubble pearl rings at once. With CHANEL double C logo, this 100% silk twilly enhances the visual fun and balances the rather basic tones between ZARA ivory tweed and washed denim. MIUMIU round-frame glittered acetate sunglasses own the gradient lenses, the large texts alongside the lenses cradles are my favourite details. About the beauty, TOM FORD #72 TONY carries either matte and satin glow, under the ray of light, flawlessly echoes the gold-tone of tweed jacket buttons, the jewelry and splendid ROCKSTUD burgundy slippers, all introduce the upcoming autumn vibe. 

 

TOP TIP 1: Adapt a pair of savoir-faire stylish slippers at garden party, highly easier to rush in and out among the space of kitchen, the yard and the tea tables

TOP TIP 2: Burgundy rouge is perfectly together with gold tone accessories and vintage denim

NOW USING PROMOTE CODE Mindy15 TO GET 15% DISCOUNT at CHAO&EERO

 

Special Thanks: JMH & Hem Heikkinen

Art Attack: Through Different Lens: Stanley Kubrick ’s Eyes Wide Shot Odyssey 1945-1950

K1 Kämp Galleria Finnish Museum of Photography, Helsinki

30.04-29.08.2021

 

Fantastic filmmaker forwards from fabulous fotographer. 

 

Raised in the Bronx, NYC in a American Jewish family, Stanley Kubrick’s intelligence was discovered to be above average but his public school attendance was poor, yet he displayed his interests in literature, jazz, chess and New York Yankees games on the weekends. At age of 13, Kubrick received a Graflex camera as a gift from his father, Jacob Leonard Kubrick, triggering his fascination with still photography. He befriended a neighbor, Marvin Traub, who shared the darkroom with Kubrick, and the boys indulged in numerous photographic projects together, soon Kubrick was chosen as an official school photographer. In the mid-1940s, while briefly attended evening classes at the City College of New York., Kubrick sold a photographic series to Look magazine, which was printed on June 26, 1945, he also supplemented his income by playing chess for quarters in Washington Square Park and several Manhattan chess clubs. The chess games remained a lifelong interest of Kubrick’s, not only appearing in his films, but when later became a member of the United States Chess Federation, Kubrick also explained that chess helped him develop ‘patience and discipline’ in making various decisions.

In 1946, Kubrick began as an apprentice photographer for LOOK and later a full-time staff photojournalist, he quickly became known for his storytelling in photographs. Kubrick’s photography style has been retrospectively demonstrated that Kubrick’s early interest in capturing individuals and their feelings in mundane environments. In 1948, Kubrick covered the Ringling Bros. and Barnum & Bailey Circus in Sarasota, Florida. As being am enthusiastic boxing enthusiast, Kubrick eventually began photographing boxing matches for the LOOK, and published Prizefighter on January 18, 1949, featuring Walter Cartier. From April 1949 to July 1950, his photo essays “Chicago-City of Extremes” “Working Debutante–Betsy von Furstenberg”, published in LOOK, which foresaw his talent to create atmosphere with imagery. Kubrick was also assigned to photograph numerous jazz musicians, from Frank Sinatra, George Lewis to Phil Napoleon.

 

Finnish Museum of Photography exhibited Kubrick’s idiosyncratic taste for the LOOK magazine during his career from 1945-50: Through a Different Lens: Stanley Kubrick Photographs at K1 Kämp Galleria; organized in collaboration with the Museum of the City of New York and the SK Film Archives LLC, which was curated under Skirball Cultural Center in October 2019. K1 Kämp Galleria exhibition introduces Stanley Kubrick’s Graflex camera at entrance salon, and at the major gallery categorizes the themes chronically from ‘Life and Love on the New York City Subway’ (1947), ‘Walter Cartier, ‘Prizefighter of Greenwich Village’ (1949), ‘Betsy Von Furstenberg’, ‘Show Girl’(1949) and ‘Jazz Master’: on the walls the photographs are framed in black steel frameworks, while at the centre glass showcases illustrate the physical copies of Stanley Kubrick’s journal essays and photographs published by LOOK magazine. 

 

Before creating the close-up cinematography to emphasis the female’s sensitivity, such as The Shining (1980), Stanley Kubrick does have a series of works about the females being stared at. By using various angles to replace the human eyes in order to construct the viewer. Such as in one of my favourite series ‘Show Girl’ (1949, Museum of the City of New York. The LOOK Collection), Kubrick put traces of invisible intruders from the beginning. In the picture, young Rosemary Williams wrapped in an exquisite gown standing in front of the bathroom door, she stroked her shoulders, looking forward to curiosity toward the upper left side of the bathroom ceiling. The doorframe on the centre of the screen shows that the ‘viewer’ is located outside the bathroom, but the more profound meaning is that in this vague image, the artist uses the graininess of the screen as a reminder to construct the viewer as a hidden voyeur…

However, from the ‘Show Girl’ series, the door is also an abrupt element in the image, suggesting that the viewer (Kubrick or us) is from outside the bathroom where Rosemary Williams is. Look inside of the bathroom; while the distance between the ‘gazer’ and ‘being gazed’ has disappeared due to the focal length of the lens creates a sense of continuity. There is no doubt from the series of photography, that at the very moment, when ‘showgirl’ looks at the doorway or into the mirror, what she glances is not only the reflection in her own mirror, but also the viewer, which is different from the concept of distance between the gazer/photographer, the meaning among ‘Show Girl’ and Kubrick/us is a connection. Furthermore, the image implies a narrative plot, as if the showgirl is preparing to relax at her salon while chatting to some friends outside the bathroom.  

 

K1 Kämp Galleria provides a plentiful of The LOOK magazine physical copies, a rich genre of separate eras of Kubrick’s journal records, a detailed description of a series of photography and a rather pleasant touring experience at summer time, perhaps it is due to this drizzling weekday. Moreover, it would be more fascinating to us the viewers, that K1 Kämp Galleria museum shop proposes merchandise of Stanley Kubrick’s The LOOK collection.  

 

Photography & Works Cited:

https://www.valokuvataiteenmuseo.fi