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640:. He considers the artificial staging, grimacing characters, and a primary narration to be the painting's weaknesses in his book "History of Russian Painting in the Nineteenth Century": "the gaze passes from a bombastic melodrama to rather superficial characters, but stops with pleasure on an interior treated to perfection, of a grey full of force, and of a lively and simple painting."
348:. Repin began work on the first one in 1883, depicting a student's return to her family. This oil on wood painting has a relatively small format, 45.8 × 37 cm. Fifteen years later, in 1898, Repin reworked this version, making several changes to the figure of the young woman, whose face was reminiscent of his daughter Nadia. It is currently in the Tretyakov Gallery's collection.
449:, which was then in Saint-Petersburg, beginning in 1884. Pavel Tretyakov had decided not to buy the painting after telling Repin that it had many qualities but also flaws; its subject did not interest him, but it seemed to him that it would touch the public. Repin himself was also not entirely satisfied with the painting's visual treatment of the theme of exile's return.
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The secondary characters, such as the child seated at the table in the right part of the painting, give the painting life, consistency, and a lyrical warmth. Other details contribute to this, such as the little girl's posture with her unusually curved legs, and the sensitively painted furnishings of
505:
The pictorial composition revolves around the exile and his mother, as well as their exchange of gazes. The mother is the link that connects her son, who is still a stranger in this luminous interior, to the rest of the family. The movement she makes towards him is highlighted in the painting by the
402:
Repin began painting a second version, which would become the main one, in 1884. It was much larger, and the woman who had entered the room had been replaced by a man. The painter worked on it in his country house in
Martyshkino, near Saint Petersburg, and posed for it with members of his family and
311:
and several other works, opened in St. Petersburg in March 1883. Ilya Repin and
Vladimir Stasov travelled to Europe in the second half of May of that year, visiting Berlin, Dresden, Munich, Paris, Madrid, Venice, and several cities in the Netherlands. In early June, Repin returned to St. Petersburg,
492:
Repin expresses the full range of their emotions, in all of their diversity, and in the moment they are created. There is the hesitant joy of the woman seated at the piano, the exiled man's wife, and that of the boy seated at the table, the young girl who looks to the side, probably unaware of who
650:
is an outstanding canvas by Repin for its beauty and mastery of pictorial choices. It is painted in full light on the motif, and its luminous colorism communicates a soft and clear lyricism that softens the drama it represents... The painter advances genre and historical painting by locating and
501:
The man's emotion is also palpable. Repin painted and changed his facial expression and head inclination at least three times. Repin had to choose a head inclination position between the elevation of the hero and the lassitude of the martyr, and he eventually retained a questioning and uncertain
571:
Repin emphasises the political and spiritual dimensions of a return following a conviction for revolutionary activity. This return would have been considered "an unexpected and miraculous event" and even a "resurrection" during this period of history, when long sentences were common. The mother
662:
Repin's skill is bringing together, on the stage suggested by classical perspective, the elements of a drama that are advanced sequentially on a real theatrical stage or in a novel and which are presented simultaneously here. The eye can browse these messages, which are conveyed in traditional
612:
The painting is full of surprises stylistically: the side lighting, the perspective, the door frame and the window in a row, the set of frames recall Dutch painters. The colours are very well mixed, "the blues are mixed with green, the browns with greys and purples, the reds are purplish".
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425:, the son of a neighbour, who would later be a renowned biochemist, professor, and academician; that of the young girl, Vera Repina, the painter's eldest daughter; and that of the maid, an employee of the Repins. The man entering the room is thought to be
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also mentions the silhouette of "an old man". Repin left only the characters who, in his opinion, were necessary for the psychological development of the theme he had chosen and for the "coherence of the scenic action" in the final version.
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by Repin exhibition's most talented and remarkable work. It contains a great deal of depth and the expression of a brilliant thought. It reflects our time without blushing or hypocrisy, and the public appreciated and loved it for
453:
then travelled to various cities throughout Russia with the travelling exhibition. Pavel
Tretyakov informed Repin at the end of the trip that he had decided to purchase the canvas. Repin had also received another offer from
957:Т. В. Юденкова (1998). "Картина И. Е. Репина «Не ждали». Художественное самосознание общества 1880–х годов" [Painting by I. E. Repin 'They Did Not Expect Him.' Artistic self-consciousness of society in the 1880s].
420:
465:, but turned it down because he wanted to retouch the male character. When the painting was finished, Pavel Tretyakov was able to acquire it for his collection, raising the purchase price from 5,000 to 7,000 rubles.
489:, a Russian revolutionary political organisation founded in the nineteenth century, who has returned from a remote region of Russia. Those in the room, who appear to be his family, were surprised to see him.
256:, literally meaning those of March 1, as well as by the public execution of the assassins, which he attended. In the mid-late 1870s, Repin conceived the idea of creating a series of paintings on the theme of
681:
became "the highest points in Repin's career both in terms of the power of expression and pictorial power". According to him, no other Repin painting could ever top these two. Similarly, art critic
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240:... I will move to St. Petersburg and begin the paintings I have long conceived from the most burning reality that surrounds us, understandable to us and exciting us more than all past events.
643:
The painting was dubbed "the most significant and monumental" of the artist's works on revolutionary themes by art critic
Aleksei Fedorov-Davydov. In his book on Repin, he writes:
609:, a symbol of suffering and atonement, and a revolutionary intellectual. There is also a depiction of Emperor Alexander II on his deathbed, having been murdered by the Narodniki.
144:. However, Repin continued to work on the painting after it was purchased, making several changes in 1885, 1887 and 1888, primarily to the face of the man entering the room.
493:
the man is, the wary astonishment of the maid standing in the entrance, the middle-aged woman in the foreground — his mother, whose bent figure expresses profound upheaval.
663:
painting through the militant's peasant clothing, the tottering pose of the old lady, the expressions on the faces, and the mute participation of
Nekrassov and Shevchenko.
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where he stayed until
September 1877. He then returned to Moscow, where he would live and work for the next five years. Repin began working on the theme of
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The apartment's wall is covered with reproductions that support the painting's political and moral symbolism. These are portraits of democratic writers
378:. According to him, the painting was intended to feature a young girl as the main character. Her revolutionary attire was strikingly similar to that of
201:, as well as the title of class artist of the first degree and the right to a fellowship trip abroad. From 1873 to 1876, the artist lived and worked in
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depicting contemporary heroes. Or, more precisely, he causes them to reach a specific force, paving the way for a painting of contemporary history.
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and read the press reviews, he decided to replace the character of the young girl in the second version of his painting with that of a young man.
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232:, was begun in 1880 in Moscow, and completed in 1883 in St. Petersburg, where the artist moved in September 1882. Repin wrote to art critic
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1883:
1018:[Ilya Repin. Gallery of paintings and drawings of the artist – Ivan the Terrible and His Son Ivan November 16, 1581, 1885].
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Repin returned to the painting in 1885, 1887, and 1888. The changes he made were mostly to the expression on the exiled man's face.
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chair she pushes aside. The painting's centre is occupied by her hand and that of her daughter-in-law, who is seated at the piano.
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1954:
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429:, whose portrait Repin worked on in 1884. The resemblance to the writer is complete in an intermediate version of the painting.
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from exile and his family's reaction. The painting is part of Repin's "Narodniki" series, which includes four other artworks.
432:
The father of the exile is also depicted in the early sketches, notifying everyone else of his impending arrival. The critic
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841:
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photographed the canvas before the 1885 modifications, and offered the photograph to art critic
Vladimir Stasov in 1884.
910:
Lyaskovskaya, Olga (1953). "К истории создания картины И. Е. Репина «Иван Грозный и сын его Иван 16 ноября 1581 года»".
581:
395:'s painting, as both heroines wore plaid with a small cap on their heads. According to Ilya Zilberstein, when Repin saw
385:
260:, a political movement of the Russian intelligentsia in the 1870s. The first of the "Narodniki" series is the painting
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658:, a French historian, regards the painting exemplary for the connection it creates between painting and literature:
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1016:"Илья Репин. Галерея картин и рисунков художника - Иван Грозный и сын его Иван 16 ноября 1581 года, 1885"
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acquaintances. The model for the exile's mother is thus partly Vera
Alexeievna, Repin's wife, and partly
1789:
1473:[Ilya Repin. Gallery of paintings and drawings of the artist – They Did Not Expect Him, 1884].
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described the painting as "one of the pinnacles of
Russian art in the nineteenth century". Art scholar
162:
364:
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572:
rising from her armchair to meet her son is reminiscent of how scenes from the
Gospels, such as the
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The canvas depicts the moment when a man enters a room. He is an exile, most likely a member of the
1805:
128:, a group of Russian realist artists who travelled around Russia to host art exhibitions, first in
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1363:[Collection of the Tretyakov Gallery: Painting by Ilya Repin "They Did Not Expect Him"].
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Ceremonial Sitting of the State Council on 7 May 1901 Marking the Centenary of its Foundation
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180:"the most significant and monumental" of the artist's works on revolutionary themes.
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Repin began working on early versions of the canvas in 1884, at his country house in
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People's liberation ideas of Russian painting in the second half of the 19th century
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Heroes and criminals in the history of Russian art from the 18th to the 20th century
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In his 1948 article titled "New Pages of Repin's Creative Biography", art historian
1389:[Relentless service (On the history of the collection of P.M. Tretyakov)].
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160.5 cm × 167.5 cm (63.2 in × 65.9 in)
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1736:] (in Russian). Vol. 20. Moscow: Директ-Медиа и Комсомольская правда.
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was praised by critic as a "masterpiece of the Russian art school". He stated:
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1278:] (in Russian). Vol. 2. Moscow: Искусство (издательство). p. 20.
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in 1871, and was awarded the Grand Gold Medal of the academy for the painting
110:
52:
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889:(in Russian) (Orig.-ausg ed.). Saint-Petersburg: Аврора. p. 63.
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1723:] (in Russian). Vol. 1. Moscow: Издательство Академии наук СССР.
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124:. He displayed it the same year in the 12th travelling exhibition of the
114:
217:
1766:Народно-освободительные идеи русской живописи второй половины XIX века
1249:] (in Russian). Moscou: Искусство (издательство). pp. 68–70.
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The painting was featured on a Soviet postage stamp released in 1969.
1101:[Repin Ilya Efimovich – They Did Not Expect Him, 1883–1898].
202:
92:
972:
Alexandrova, Natalya; Nikonova, Natalya; Vvedenskaya, Elena (2010).
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an apartment typical of a family of the intelligentsia at the time.
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as "one of the pinnacles of Russian painting of the 19th century".
1471:"Илья Репин. Галерея картин и рисунков художника — Не ждали, 1884"
720:
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The painting was included in the 12th itinerant exhibition of the
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209:
1297:] (in Russian). Moscow: Искусство (издательство). p. 67.
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1534:"A big problem: the dissidence of Russian painting (1860–1922)"
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The painting received a mixed reaction from painter and critic
1169:] (in Russian). Moscow: ОЛМА Медиа Групп. pp. 72–75.
1797:
1312:(in Russian). Moscow: Искусство (издательство). p. 144.
161:
became the pinnacles of Repin's career, while art historian
1610:] (in Russian). Moscow: Республика. pp. 267, 272.
1325:"The Writer as Artist's model: Repin's portrait of Garshin"
974:Герои и злодеи русской истории в искусстве XVIII — XX веков
1697:] (in Russian). Vol. 4. Moscow: Красная площадь.
1449:[Ilya Efimovich Repin – They Did Not Expect Him].
1387:"Неустанное служение (К истории коллекции П.М.Третьякова)"
1291:И. Е. Репин: краткий очерк жизни и творчества (1844—1930)
1272:Русское искусство: очерки о жизни и творчестве художников
590:, and it establishes a link with the theme of guilt, the
1691:Государственная Третьяковская галерея — каталог собрания
1295:
I. E. Repin: a brief sketch of life and work (1844-1930)
244:
In the early 1880s, Repin was greatly influenced by the
502:
expression, where there is also heroism and suffering.
113:
made between 1884 and 1888. It depicts the return of a
1361:"Собрание Третьяковки: Картина Ильи Репина "Не ждали""
1276:
Russian art: elements on the life and work of painters
1508:] (in Russian). Moscow: Белый город. p. 63.
193:
Ilya Repin completed his seven years of study at the
216:
in July 1876 and later went back to his hometown of
1902:
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76:
66:
58:
48:
23:
980:] (in Russian). Saint Petersburg. p. 95.
441:12th traveling exhibition and sale of the painting
1354:
1352:
1350:
1734:Ilya Efimovich Repin (Great Artists, Volume 20)
1730:Илья Ефимович Репин (Великие художники, том 20)
1608:History of Russian painting in the 19th century
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1695:State Tretyakov Gallery – collection catalog
199:"The Resurrection of the Daughter of Jairus"
1591:] (in Russian). Vol. 1. Искусство.
1099:"Репин Илья Ефимович — Не ждали, 1883—1898"
1085:
870:: CS1 maint: numeric names: authors list (
842:"НЭБ – Национальная электронная библиотека"
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587:The Appearance of Christ Before the People
309:Religious Procession in the Kursk Province
40:
20:
1860:Religious Procession in Kursk Governorate
1764:Сарабьянов, Дмитрий Владимирович (1955).
710:was displayed at the Repin exhibition at
228:Religious Procession in Kursk Governorate
1589:Favorites: painting, sculpture, graphics
1585:Избранное: живопись, скульптура, графика
1213:
1044:
718:from 5 October 2021 to 23 January 2022.
414:, Stasov's daughter; that of the child,
1753:Илья Ефимович Репин. Жизнь и творчество
885:Г. Ю. Стернин; Е. В. Кириллина (1996).
840:Переписка с В. В. Стасовым, 1877—1894.
740:
512:
1772:] (in Russian). Moscow: Искусство.
1759:] (in Russian). Moscow: Искусство.
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580:, are depicted. It is also similar to
224:in 1877. His main work on this theme,
1527:
1525:
1380:
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1137:Российский общеобразовательный портал
924:from the original on 18 November 2021
7:
1689:Брук, Я. В.; Иовлева, Л. И. (2006).
344:There are two different versions of
1950:Collection of the Tretyakov Gallery
1604:История русской живописи в XIX веке
1026:from the original on 18 August 2011
1868:Ivan the Terrible and His Son Ivan
1757:Ilya Efimovich Repin. Life and art
1666:from the original on 12 April 2022
1564:from the original on 25 March 2022
1481:from the original on 12 March 2013
1183:from the original on 11 April 2022
852:from the original on 11 April 2022
678:Ivan the Terrible and His Son Ivan
236:in a letter dated 2 January 1881:
158:Ivan the Terrible and His Son Ivan
14:
1884:Reply of the Zaporozhian Cossacks
1109:from the original on 4 March 2016
1921:
1920:
1783:
1538:Annals. History, Social Sciences
1447:"Репин Илья Ефимович — Не ждали"
1133:"Репин, Илья Ефимович. Не ждали"
554:
542:
530:
518:
374:discussed the first version of
262:Under Escort. On the Muddy Road
1241:А. А. Фёдоров-Давыдов (1989).
267:Под конвоем. По грязной дороге
147:Russian artist and art critic
1:
1683:General and cited references
1455:(in Russian). Archived from
1431:(in Russian). Archived from
1393:(in Russian). Archived from
1367:(in Russian). Archived from
1139:(in Russian). Archived from
920:] (in Russian). Moscow.
537:Mother and wife of the exile
132:and then in other cities of
1662:(in French). 18 June 2021.
1323:Elizabeth Kridl Valkenier.
140:in 1885 for display in his
1971:
1844:Barge Haulers on the Volga
1751:Лясковская, О. А. (1982).
1333:Metropolitan Museum of Art
1159:Евстратова, Е. H. (2008).
961:(in Russian) (2): 376–407.
667:The artist and art critic
1918:
1656:"Ilya Répine (1844–1930)"
1550:10.3406/ahess.1962.420817
1289:Н. to. Машковцев (1943).
754:Great Soviet Encyclopedia
671:wrote that the paintings
312:and later settled in the
307:, which featured Repin's
296:
286:
276:
266:
151:wrote that the paintings
39:
28:
1910:Repino, Saint Petersburg
1310:Иллюстрации И. E. Репина
1308:А. A. Парамонов (1952).
725:Soviet post stamp (1969)
272:Arrest of a Propagandist
195:Imperial Academy of Arts
1955:Paintings by Ilya Repin
1876:They Did Not Expect Him
1532:Alain Besançon (1962).
1423:Т. В. Юденкова (2010).
1131:А. A. Фёдоров-Давыдов.
1086:Брук & Иовлева 2006
780:Брук & Иовлева 2006
708:They Did Not Expect Him
694:They Did Not Expect Him
673:They Did Not Expect Him
648:They Did Not Expect Him
629:They Did Not Expect Him
622:They Did Not Expect Him
574:resurrection of Lazarus
451:They Did Not Expect Him
376:They Did Not Expect Him
357:They Did Not Expect Him
346:They Did Not Expect Him
338:They Did Not Expect Him
178:They Did Not Expect Him
174:Aleksei Fedorov-Davydov
153:They Did Not Expect Him
102:They Did Not Expect Him
24:They Did Not Expect Him
887:Илья Репин (1844—1930)
726:
665:
653:
634:
360:
341:
242:
136:. It was purchased by
16:Painting by Ilya Repin
1728:Королёва, С. (2010).
1602:Бенуа, А. H. (1995).
1583:В. В. Стасов (1950).
1435:on 22 September 2015.
1270:А. И. Леонов (1971).
918:Ilya Yefimovich Repin
749:"Репин Илья Ефимович"
724:
578:Last Supper at Emmaus
514:Details of characters
354:
335:
305:travelling exhibition
270:; 1876), followed by
1794:at Wikimedia Commons
1500:Е. Алленова (2000).
250:Emperor Alexander II
208:Repin returned from
1425:"Репин неисчерпаем"
1397:on 20 February 2020
1391:www.nasledie-rus.ru
1359:Юденкова, Татьяна.
1088:, pp. 217–218.
1059:, pp. 202–212.
913:Илья Ефимович Репин
456:Fyodor Tereshchenko
277:Арест пропагандиста
1385:Татьяна Юденкова.
1343:on 2 October 2019.
1103:www.art-catalog.ru
727:
393:Nikolai Yaroshenko
361:
342:
1932:
1931:
1788:Media related to
1743:978-5-87107-193-9
1704:978-5-93221-081-9
1617:978-5-250-02524-9
1515:978-5-7793-0220-3
1452:Tretyakov Gallery
1256:978-5-98724-030-4
1176:978-5-37300-683-5
987:978-5-93332-355-6
896:978-1-85995-211-5
683:Dmitry Sarabyanov
416:Sergei Kostytchev
336:First version of
290:; 1879–1885) and
282:Before Confession
163:Dmitry Sarabyanov
105:is a painting by
98:
97:
89:Tretyakov Gallery
1962:
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1406:
1404:
1402:
1382:
1373:
1372:
1371:on 3 March 2022.
1356:
1345:
1344:
1342:
1336:. Archived from
1329:
1320:
1314:
1313:
1305:
1299:
1298:
1286:
1280:
1279:
1267:
1261:
1260:
1238:
1217:
1211:
1205:
1199:
1193:
1192:
1190:
1188:
1156:
1145:
1144:
1143:on 4 March 2016.
1128:
1119:
1118:
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1083:
1072:
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1060:
1054:
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789:
783:
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766:
757:. Archived from
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691:
638:Alexandre Benois
603:Taras Shevchenko
599:Nikolay Nekrasov
582:Alexander Ivanov
558:
546:
534:
522:
464:
427:Vsevolod Garshin
424:
413:
405:Varvara Komarova
389:
373:
365:Ilya Zilberstein
299:
298:
289:
288:
279:
278:
269:
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1643:Сарабьянов 1955
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1459:on 16 May 2017.
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1069:Лясковская 1982
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1057:Лясковская 1982
1055:
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1043:
1039:
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959:Искусствознание
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487:Narodnaya Volya
483:
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418:
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330:
287:Перед исповедью
234:Vladimir Stasov
191:
186:
165:
138:Pavel Tretyakov
17:
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1968:
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1958:
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1477:(in Russian).
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1694:
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1668:. Retrieved
1660:Petit Palais
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1566:. Retrieved
1541:
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1474:
1465:
1457:the original
1450:
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1433:the original
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1395:the original
1390:
1369:the original
1364:
1338:the original
1331:
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1309:
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1290:
1284:
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1242:
1209:
1204:, p. 8.
1197:
1185:. Retrieved
1166:
1161:
1141:the original
1136:
1111:. Retrieved
1102:
1093:
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1040:
1028:. Retrieved
1019:
1010:
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926:. Retrieved
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854:. Retrieved
845:
835:
823:
811:
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759:the original
752:
743:
716:Petit Palais
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592:prodigal son
585:
584:'s painting
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549:Boy and girl
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1631:Grabar 1948
1247:I. E. Repin
1243:И. Е. Репин
1202:Grabar 1948
1030:18 November
928:18 November
828:Grabar 1948
816:Grabar 1948
804:Grabar 1948
792:Grabar 1948
765:3 September
686: [
669:Igor Grabar
594:'s return.
497:Composition
459: [
419: [
408: [
397:The Student
384: [
381:The Student
368: [
355:Sketch for
322:Oranienbaum
318:Martyshkino
316:village of
166: [
149:Igor Grabar
122:Martyshkino
1939:Categories
1829:Ilya Repin
1506:Ilya Repin
1502:Илья Репин
1365:Эхо Москвы
730:References
222:procession
189:Background
111:Ilya Repin
77:Dimensions
53:Ilya Repin
1836:Paintings
1791:Ne zhdali
1558:161156519
996:cite book
938:cite book
846:rusneb.ru
735:Citations
692:regarded
617:Reception
567:Symbolism
303:The 11th
300:; 1883).
62:1884–1888
1926:Category
1715:(1948).
1670:11 April
1664:Archived
1568:12 April
1562:Archived
1485:11 April
1479:Archived
1429:Художник
1401:11 April
1187:11 April
1181:Archived
1113:11 April
1107:Archived
1024:Archived
922:Archived
866:cite web
856:11 April
850:Archived
607:Golgotha
476:Analysis
328:Creation
258:Narodism
115:narodnik
85:Location
34:Не ждали
1903:Related
576:or the
481:Subject
292:Meeting
218:Chuguev
184:History
176:called
142:gallery
109:artist
107:realist
30:Russian
1895:(1903)
1887:(1891)
1879:(1888)
1871:(1885)
1863:(1883)
1855:(1876)
1847:(1873)
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1701:
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700:Legacy
359:(1884)
340:(1883)
297:Сходка
203:France
134:Russia
93:Moscow
67:Medium
49:Artist
1852:Sadko
1768:[
1755:[
1732:[
1721:Repin
1719:[
1717:Репин
1693:[
1606:[
1587:[
1554:S2CID
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1504:[
1341:(PDF)
1328:(PDF)
1293:[
1274:[
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1167:Repin
1165:[
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976:[
916:[
712:Paris
690:]
632:that.
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320:near
314:dacha
210:Paris
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1738:ISBN
1699:ISBN
1672:2022
1612:ISBN
1570:2022
1510:ISBN
1487:2022
1403:2022
1251:ISBN
1189:2022
1171:ISBN
1115:2022
1032:2021
1002:link
982:ISBN
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930:2021
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872:link
858:2022
767:2021
675:and
601:and
155:and
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252:by
248:of
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Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
