To War (painting) - Knowledge (XXG)

621: 522:. The painting, which is a multi-figure composition, does not depict military action but instead portrays the grief of relatives and friends as they bid farewell to soldiers – reserve conscripts – who are going off to war. By opting to portray the last minutes before the separation, the artist was able to "show the actors at a time when all the feelings and thoughts, usually hidden from view, are more vividly manifested". The canvas depicts the various stages of this event. On the right-hand side, the background depicts a dense crowd, with individual figures merging into one another. The central section of the painting, which features multiple groups painted in detail, depicts the most intense moments of the action. In the background, at the rear of the composition, the soldiers who have already bidden their relatives farewell are climbing the platform, attempting to, for the final time, catch the gaze of those who have come to see them off. 802: 577:

his family. As posited by art historian Elena Levenfish, the image of this youthful, vibrant individual serves as a manifestation of defiance against the forces that condemn him and thousands of others to a fate of death. His wife, held and reassured by her relatives, struggles towards her departing husband, terrified by the imminent separation, "her terrible, heart-rending cry seems to fill the picture". The images of the young soldier and his wife present the most unadulterated form of the feelings experienced by other participants in the drama, which are otherwise concealed and restrained. At the same time, many of those around them are immersed in their own grief, thereby rendering the violent scene of the conscript's farewell to his wife unnoticed by the public.

912:, calling it Konstantin Savitsky's best creation. He wrote that it had enough "faithful human types, national and psychological truth", "tragic, wrenching scenes of farewell, carefree happiness, soldier's bravery, feminine grace and beauty in a simple young Russian peasant woman", and also noted "naivety and simplicity in old men and children", full of movement and life, "diversity of excitement of poor people", "diversity of interests" and ways of expressing them. Stasov noted that despite its "grey, bluish colour", this painting was "an important page in the history of Russian art". According to Stasov, "Savitsky is not a colourist, but he has many things that will always make you forget one or the other of his particular shortcomings". 198: 816: 844: 858: 366: 589:), but it was on the right-hand side of the canvas rather than the left. In the final version of the painting, Savitsky "poeticized" the image of the soldier's wife compared to the 1880 version, depicting her as slimmer and younger, and more elegantly dressed, so that she even "somewhat lost the characteristic peasant look." The soldier's features have become more strong-willed, his father is less decrepit and his mother's face, which was hidden in the first version of the painting, is now visible. Other differences include the fact that the teenage girl in the 1880 version is holding a small child, which Savitsky decided not to include in the final version of the painting. 581:

been called up from the reserves. He thinks of the hard life without a breadwinner that his young wife and old parents will have to face. Without losing his dignity, he restrains his feelings with a strong tension; his face expresses "sublime nobility, majesty and inner significance". While he pensively clutches his wife's hand, his mother clings to his chest, not ruling out the possibility that this is the last time she will see her son. On the other side of the soldier is his father, next to whom stands a teenage girl, half turned to look at what is happening around her. This group was also present in the first version of the painting (fragment

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Savitsky's painting, depicting the farewell of conscripts going off to war, was "a broad, substantial and typical phenomenon of old life", to which the artist had given "a choral, popular, generalising meaning", imbuing it with a deep social meaning. According to Sokolnikov, Savitsky's painting, "terrible in its drama", managed to convey the psychology of the masses, the confusion of peasants sent to war who "do not know where they will be taken next, with whom and for what, for what interests they are going to war". For Sokolnikov, this "exposure" was the main point of Savitsky's painting.

716: 494:, which was published following this exhibition, art historian Sofia Goldstein conducted an analysis of the 13 paintings mentioned above. She divided them into two distinct groups: studies, which were characterized by incompleteness, and well-developed multi-figure compositions. Based on her analyses, she concluded that the paintings in the second group were fragments of the initial version of the painting, which had apparently been cut up by the artist. Subsequently, this perspective became generally accepted. Some fragments of the first version of the painting are housed in the 702: 613:. According to the art historian Mikhail Sokolnikov, the figure of the peasant forms a kind of centre in the right-hand part of the composition, and his "gigantic image breathes such power and strength, is so plastically expressive that the viewer feels in him a symbol of the people awakening to consciousness and the unbending will of the people". A similar image of the peasant was also present in the 1880 version, albeit with the addition of a weeping peasant woman next to him, covering her face with her hands and leaning against the edge of the cart (fragment 730: 294: 605:. Obviously, he has seen a lot in his life, so he understands the essence of what is happening better than others - hence, according to Elena Levenfish's description, the "hatred in his sullen gaze, a maturing protest." Savitsky's contemporaries emphasised this character, calling him a "ploughman-athlete", a "mighty worker" and a "black soil strength". His image was later compared to two figures in Kramsky's paintings of the Peasant Cycle - 552: 540: 29: 213:("Peredvizhniki"), which commenced in St Petersburg on 6 (18) March 1880. The appearance of Savitsky's painting at the exhibition was met with a number of critical remarks. The reviewers, including authors of various periodicals, noted the painting's lack of compositional integrity, insufficient connection between groups and inaccuracies in the depiction of perspective. 342:("Peredvizhniki"), which opened on 28 February (11 March) 1888 in St Petersburg. This time, Savitsky's painting was met with a more favourable response from experts and critics. In a letter to the publisher Vladimir Chertkov dated 14 April 1888, the artist Ilya Repin highlighted two paintings presented at the exhibition: "A good thing was here at the exhibition - 357:: "...do you know that I, miserable, to this day am still fiddling with my big child? Not only have not yet handed over, but I write and write to the stupor. Had the misfortune to paint a small repetition for the province, painted outside, it came out better, and I saw the light, now I am struggling out of the darkness. It does not come easily to me." 274:. In the eight years between the creation of the first and second versions of the painting, Savitsky also produced other works that contributed to the identification of the images of individual characters and, in general, to the completion of the final version of the painting. In the opinion of art historian Dmitri Sarabianov, the paintings 601:- testify to his poverty. His figure is in the background, so that he can observe the farewell scene of the conscripts and their relatives in the foreground. The fact that he does not say goodbye to anyone suggests that his relatives are not among the soldiers going off to war - apparently he has just taken someone he knows with him on a 248:

there was a lot of truth and feeling in this painting". The artist Ivan Kramskoy explained the shortcomings of the canvas, attributing them to the fact that shortly before the exhibition Savitsky had made substantial alterations to his painting, and "the alterations affected its pictorial side in the direction of deterioration".

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will have to fight; for a while they have drowned their greif in wine, but the more bitter the hangover will be". Other writers, on the other hand, saw in this scene "the breadth of Russian nature and the ineradicable folk optimism". The artist's wife, Valeria Ippolitovna, recalled that Savitsky "fiddled a lot with

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finished, the artist said: "The painting is finished! It is so finished that I have decided to exhibit it; I have looked at it so closely that I could not decide myself. Tomorrow I am taking my brainchild to the exhibition." The second and final version of the painting was presented at the 16th exhibition of the

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recognised that "the scenes and types are excellent, the expressions both in the movements and on the faces are vital, truthful and deeply felt". The art critic Vladimir Stasov observed that Savitsky's painting had an excessively grey background, although he conceded that, "despite many shortcomings,

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In the background to the left of the painting, partially obscured by the figures in the foreground, is a group of drunken soldiers dancing to a harmonica and violin. According to Dmitry Sarabianov, "now these people do not care where they will be taken, what they will be forced to do, with whom they

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The left side of the painting depicts another family group, in which a bearded soldier is seen bidding farewell to his parents and wife. This scene evinces a quality of "restrained and chaste grief." The soldier is not old and, like the other conscripts, he has served in the Tsarist army and has now

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The composition of the canvas is centred on the group of soldiers who have forcibly taken the conscript away from his wife and family. The conscript appears bewildered, seemingly unaware of the circumstances surrounding him and attempting to resist the violence, attempting to break free to return to

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Another group of people saying goodbye can be discerned behind the cart, situated just to the left of the peasant. It consists of a soldier resting his head on his father's shoulder and a mother holding back tears as she sees her son off to war. In the 1880 version, this scene was positioned in the

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was one of the "most significant paintings of the Russian realist school". Noting the ideological content, the monumentality of the subject and execution, and the popular character of the painting, Sokolnikov pointed out its affinity with the works of Ilya Repin. He wrote that the domestic plot of

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tried to soften the "harshness of this stunt" of Vladimir Alexandrovich before Bogolyubov. Nevertheless, the final version of the painting was commissioned by Alexander III. This was likely due to the artist's removal or softening of several episodes present in the initial version of the painting,

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In May 1887, Savitsky reported: "I am all, from the heels and to the very bush on my head, immersed in my painting. I only think how to see it as soon as possible completely established. And eat, and drink, and sleep all with the thought of it." Finally, on 23 February 1888, when the painting was

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newspaper wrote that Savitsky's work contained "abundant material for a dozen paintings", which was the reason that "the artist himself could not make sense of the mass of those leaving and seeing off". Nevertheless, paying tribute to the artist's skill, the author of an article in Novoye Vremya

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in front of him. Unlike the first version of the painting, in which the station's platform was parallel to the plane of the canvas, the final version shows it in perspective distance. According to some sources, the painting depicts the landing stage of the Taganrog railway station, according to

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acknowledged that, "despite many shortcomings, there was a lot of truth and feeling in the painting". Nevertheless, in response to the considerable criticism he had received, Savitsky decided to repaint the piece. As it turned out many years later, the initial iteration of the work was cut into

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is the people, through whose tragedy "the contradictions of reality" of the time are revealed. In Savitsky's painting, this tragedy "takes on an optimistic tone" because of the "great inner strength lurking" in the masses of people depicted by the artist. In Sarabianov's opinion, the painting

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The second and final iteration of the painting was presented at the 16th exhibition of the Society for Travelling Art Exhibitions (Peredvizhniki), which opened on 28 February (11 March) 1888 in St. Petersburg. This time the painting was received more favourably: in particular, the artist

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Another important figure is the peasant standing by the cart on the right-hand side of the canvas. Savitsky picks him out of the crowd of people bidding him farewell. His face, pose and movements convey strength and confidence. The peasant's clothes - a patched shirt, trousers,

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organised an exhibition of Konstantin Savitsky's works, presenting the second (final) version of the painting from the State Russian Museum, as well as 13 paintings and 66 graphic works related to the artist's exploration of this theme. In an article dedicated to the painting

939:, they are nevertheless "quite satisfactory works, standing far above the general level of the school". According to Benois, Savitsky's principal advantages over his contemporaries were his objectivity and his "serious attention to landscape, types and poses." 131:(Peredvizhniki). The appearance of Savitsky's painting at the exhibition was met with a number of critical comments - in particular, that it was overloaded with too many figures. The painting received positive reviews as well. For instance, the art critic 234:, the author posited that if you mentally try "to cut off as much as you like from any side of the painting or add as much to it in the same character - the content of the painting will neither win nor lose from this". The author of an article in the 194:, dated 22 December 1878, Savitsky wrote: "I would give a lot to have one of my friends talk to me about the painting I am writing now. There are so many questions that one goes over in one's head in silence, and there is no answer to them." 240:

noted that in Savitsky's painting "everything is interesting, but it is interesting in parts", and as a whole "there is no painting, or better to say, it is not concentrated, it is not connected together". Nevertheless, the critic from the

1742: 166:, during the latter half of the 1870s. The first ideas related to the future canvas appeared to the artist while he was abroad. In 1876, Savitsky, who was then in Paris, exhibited a preliminary sketch of the painting to the artist 144:

remarked that "Savitsky's painting 'To War' came out very well", and the critic Vladimir Stasov wrote that it was "an important page in the history of Russian art". Later, the art historian Mikhail Sokolnikov noted that Savitsky's

620: 270:, which was presented at the Peredvizhniki exhibition in 1881. Some of Savitsky's studies from this period are known to exist, including those depicting characters not included in the final version of the painting, such as 346:'Everywhere Life'. Perhaps they have already sent it to you. And Savitsky's painting 'To War' came out very well, you should have and show both these paintings. It would not be a bad idea to publish them for the people." 898: 883:(canvas, oil, 104 × 204 cm, inv. Zh-860), created by Savitsky in the same year, 1888, is held in the collection of the Perm State Art Gallery. It was transferred to the gallery in 1950 from the State Russian Museum. 876:(canvas, oil, 41.5 × 30 cm, 1880s). It was initially part of the Vysotsky collection in Moscow, subsequently transferred to the State Museum Fund, and in 1927 was acquired by the Smolensk Art Gallery (inv. Zh-98). 222:

noted that the painting was "quite interesting and talented" in its details, but in some scenes "it is a motley crowd painted in two tiers", so that in general "there is not one whole picture". An observer for the

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noted that "individual groups and faces are full of movement, life and expressiveness, and if you stop at them, you will read a whole drama in many faces and poses". In a review published in the newspaper

321:, who was present, was indignant: "What impertinence to present drunken soldiers to the sovereign!" It is possible that his response was influenced by the knowledge that Pyotr Iseev, the secretary of the 1750: 2379: 801: 1038: 969:. It emphasises the "dramatic conflict of the action", which sharpens the feelings of the characters and gives the interpretation of the scene the heroism and suspense of such 617:, private collection). In contrast to the final version, in the initial version the group with the cart was situated in the foreground on the left side of the painting. 353:

received at the 16th travelling exhibition, Savitsky continued working on it, thereby postponing its transfer to the customer. In September 1888 he wrote to the painter

421: 325:, was discontented. Iseev was not pleased with the fact that artists were communicating with Alexander III through other channels than himself. At the same time, the 632:

foreground on the left side of the painting. However, in the 1888 version, it was relocated to a more distant area, and because of this "lost its expressiveness".

669: 1941:Гольдштейн, С.Н. (1957). "Из истории создания картины К. А. Савицкого «На войну»" [From the history of creatiob of K.A. Savitsky's painting "To War"]. 197: 326: 1078: 318: 815: 2632: 843: 927:

as a "clearly unsuccessful thing." However, he also acknowledges that it's power of expression sets it apart as one of the best works created by the

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records that on 10 June 1886, at breakfast, the artist Alexei Bogolyubov informed him that the previous day, when presenting his painting

127:, during the second half of the 1870s. The initial version of the painting, completed in 1880, was exhibited at the 8th exhibition of the 2022: 784:, is held in one of private collections in Moscow (according to information from 1955-1957, it is the collection of K. M. Shishkova). 2562: 1046: 2580: 2460: 2337: 2185: 2099: 1999: 1914: 1884: 829: 398: 1771: 116:. The narrative revolves around the scene of soldiers going off to war, parting with their loved ones. It takes place during the 2599: 1484: 519: 117: 108:(Inventory No. Zh-4228). The dimensions of the canvas are 207.5 × 303.5 cm. Alternative titles are also used, including 715: 872:

Among the preparatory materials produced during the creation of the second version of the painting is the study entitled

701: 354: 392:), where it remains to this day. The painting was initially exhibited alongside several other notable works, including 772:(oil on canvas on cardboard, 70 × 56 cm, inv. Zh-1420, received from K. I. Shishkina in 1908). A fragment, entitled 2547: 2506: 2476: 2432: 2353: 961: 644: 225: 218: 647:

who appear to be coldly indifferent to the people's grief. An officer stands on the platform, with two soldiers

2009:Коровкевич, С.В. (1961). "Бытовая живопись 1870—1880-х годов" [Household painting of the 1870s-1880s]. 893: 322: 729: 2328:] (in Russian). Vol. 4: Живопись второй половины XIX века, книга 2, Н–Я. Я. В. Брук, Л. И. Иовлева. 2627: 2583:[Interactive view of the hall of the State Russian Museum, where the painting "To War" is located]. 637: 495: 486: 310: 202: 171: 2374: 2255: 427: 293: 2526: 2385: 2269: 2236: 2208: 2153: 2125: 2047: 1965: 243: 236: 388:. In 1897, it was transferred to the Russian Museum of Emperor Alexander III (subsequently renamed the 256:

Apparently under the strong impression of this criticism, Savitsky decided to create a new version of

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The initial iteration of the painting, completed in 1880, was showcased at the 8th exhibition of the

101: 2485:Пермская государственная художественная галерея. Каталог произведений живописи, скульптуры, графики 2079: 465: 457: 435: 408: 302: 97: 39: 2541: 2500: 2470: 2426: 2347: 777: 503: 475: 443: 343: 2581:"Интерактивный вид зала Государственного Русского музея, в котором находится картина «На войну»" 640:, especially confused by the figure of the dancing soldier, where the leg is at a great angle". 931:. In the view of Benois, even if technically Savitsky's most accomplished paintings, including 563: 551: 539: 260:. It is possible that Savitsky was also influenced by the works of other artists, particularly 201:

Soldiers crowding near railway carriages (fragment of the first version of the painting, 1880,

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In a book published in 1955, art historian Dmitry Sarabianov noted that the main character in

676:(oil on canvas, 15.5 × 22 cm, Inventory Zh-1163, received from N. M. Novopolsky in 1946), and 448: 175: 167: 1981: 2637: 2448: 2408: 2177: 1894: 1084: 920: 83: 2284: 2251: 905: 757: 744:

The State Tretyakov Gallery holds three fragments of the original version of the painting

668:(oil on canvas, 38.5 × 42.5 cm, inv. Zh-1131, received from the Art Committee of the 132: 2407:] (in Russian). Vol. 7: Живопись второй половины XIX века (Н—Я). В.А. Леняшин. 1779: 643:

In the background, soldiers climb the steps to the carriages. They are being watched by

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The State Russian Museum houses three studies for the original version of the painting

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was "one of the most significant paintings in the Russian realist school of painting".

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People's liberation ideas in Russian painting of the second half of the 19th century

764:(23.8 × 52.4 cm, Inventory No. Zh-20, acquired from A. V. Gordon in 1956). The 2492: 2313: 1492: 1067: 57: 752:(29.5 × 29.7 cm, Inventory No. 10343, acquired from B. S. Petukhov in 1928), 71:

207,5 cm × 303,5 cm (817 in × 1,195 in)

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which depicted the disenfranchisement of soldiers and the abuse of authority.

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Work on the second version of the painting and the 16th travelling exhibition

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Articles and notes published in newspapers and not included in book editions

2039: 1961: 1943: 1776:Государственный каталог Музейного фонда Российской Федерации — goskatalog.ru 598: 2489:

Perm State Art Gallery. Catalogue of works of painting, sculpture, graphics

2289:Статьи и заметки, публиковавшиеся в газетах и не вошедшие в книжные издания 178:

Alexander III. In the process of creating the painting, Savitsky used many

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Work on the first version of the painting and the 8th travelling exhibition

2363:Государственный Русский музей — Живопись, XVIII — начало XX века (каталог) 2170:Товарищество передвижных художественных выставок. 1871—1923. Энциклопедия 1087:: типография акционерного общества «Издательское дело». 1900. p. 35. 625: 183: 557:

Centre group: soldiers take a conscript away from his wife and relatives

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In his article "16th Travelling Exhibition", published in the issue of

412: 313:, he had also shown the Emperor the new version of Savitsky's painting 2367:

State Russian Museum - Painting, 18th - early 20th century (catalogue)

2197:Народно-освободительные идеи русской живописи второй половины XIX века 680:(oil on canvas, 22.5 × 15.5 cm, Inventory Zh-1163, received from 2602:[Savitsky. To war: what is really depicted in the painting]. 2522: 2329: 2296: 2265: 2232: 2204: 2149: 2121: 2091: 2071: 2043: 2018: 1991: 1906: 1876: 648: 602: 594: 507: 187: 61: 1747:Смоленский государственный музей-заповедник — www.smolensk-museum.ru 485:, completed in 1880, remained unknown for a long time. In 1955, the 569:

The peasant by the cart and the people saying goodbye in the crowd

364: 196: 1869:Войны, сражения, полководцы в произведениях классической живописи 942:

In 1947 the art historian Mikhail Sokolnikov wrote that painting

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Society for Travelling Art Exhibitions. 1871-1923. Encyclopaedia

1774:[Savitsky Konstantin Apollonovich - "Crying Soldier"]. 1073:Энциклопедический словарь Брокгауза и Ефрона: Саварни — Сахарон 768:

owns another fragment of the original version of the painting,

190:, near St Petersburg, and elsewhere. In a letter to the artist 2600:"Савицкий. На войну: что на самом деле изображено на картине" 2306:Пермская государственная художественная галерея. Путеводитель 1745:[Konstantin Apollonovich Savitsky - Crying Soldier]. 162:

Konstantin Savitsky commenced work on the painting, entitled

2585:Виртуальный тур по Русскому музею — virtual.rusmuseumvrm.ru 1489:Русский музей — виртуальный филиал — www.virtualrm.spb.ru 545:

The group saying goodbye on the left side of the painting

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The author of an article in the art and literary journal

2322:Государственная Третьяковская галерея — каталог собрания 1873:

Wars, battles, commanders in works of classical painting

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A Group of Soldiers with an Accordionist and a Violinist

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A Group of Soldiers with an Accordionist and a Violinist

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others it is one of the St Petersburg railway stations.

290:(1884) are the most appropriate examples of such works. 2519:

Russian genre painting of the 19th - early 20th century

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State Tretyakov Gallery catalogue, vol. 4, book 2 (2006

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State Russian Museum - From the history of the museum

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State Tretyakov Gallery - catalogue of the collection

1990:]. Детский музей. Русская живопись (in Russian). 1772:"Савицкий Константин Аполлонович — «Плачущий солдат»" 1826: 1322: 756:(48 × 31 cm, Inventory No. 11169, acquired from the 1743:"Константин Аполлонович Савицкий — Плачущий солдат" 1678: 1584: 1541: 1278: 1143: 297:

Crying Soldier (study, 1880s, Smolensk Art Gallery)

75: 67: 53: 45: 35: 21: 2405:State Russian Museum - catalogue of the collection 1472:From the history of the State Russian Museum (1995 1447: 908:provided a comprehensive analysis of the painting 123:Savitsky commenced work on the painting, entitled 100:(1844-1905), completed in 1888. It belongs to the 2257:Избранные сочинения: живопись, скульптура, музыка 2068:A Tale of the Silent Don. Invitation to a journey 919:, first published in 1902, the artist and critic 349:Despite the favourable reviews that the painting 2447:] (in Russian). И.Н. Карасик, Е.Н. Петрова. 2441:Государственный Русский музей — Из истории музея 2401:Государственный Русский музей — каталог собрания 2142:Товарищество передвижных художественных выставок 1875:]. Героическая история России (in Russian). 864:Crying Peasant Woman and Peasant Man at the Cart 782:Crying Peasant Woman and Peasant Man at the Cart 615:Crying Peasant Woman and Peasant Man at the Cart 518:In his work, Savitsky depicts the events of the 2064:Повесть о Тихом Доне. Приглашение к путешествию 1903:History of Russian painting in the 19th century 1417:harvtxt error: no target: CITEREFПоловцов2005 ( 917:History of Russian Painting in the 19th Century 790:Fragments of the first version of the painting 528:Fragments of the final version of the painting 460:, where it can be seen alongside such works as 2515:Русская жанровая живопись XIX — начала XX века 1690: 1382: 1131: 690:Studies for the first version of the painting 481:The fate of the first version of the painting 2120:] (in Russian). Vol. 1 (1867—1892). 1177: 8: 2090:] (in Russian). Vol. 1. 1883—1886. 1706:State Russian Museum catalogue, vol. 7 (2017 1070:[Savitsky Konstantin Apollonovich]. 1026:State Russian Museum catalogue, vol. 7 (2017 2567:Виртуальный Русский музей — rusmuseumvrm.ru 1666: 1337: 1119: 1100: 1079:Brockhaus and Efron Encyclopedic Dictionary 1043:Виртуальный Русский музей — rusmuseumvrm.ru 670:Council of People's Commissars of the RSFSR 2262:Selected Works: Painting, Sculpture, Music 1994:: Русское энциклопедическое товарищество. 1850: 1729: 1633: 1614: 1553: 1524: 1512: 1397: 1219: 1200: 1158: 456:is currently on display in Hall 31 of the 27: 18: 2565:[Savitsky K. A. - To war. 1888]. 2231:]. Массовая библиотека (in Russian). 1980:Иванова, Ю.А.; Кондратович, Н.А. (2003). 1431: 1370: 1293: 1654: 1599: 1572: 1487:[Mikhailovsky Palace, Hall 31]. 1459: 1412: 1358: 1261: 850:Soldiers Walking along the Landing Stage 774:Soldiers Walking along the Landing Stage 619: 292: 2299:: Издательство Академии художеств СССР. 1827:V. V. Stasov - Articles and Notes (1952 1814: 1717: 1323:V. V. Stasov - Articles and Notes (1952 1231: 1041:[Savitsky K. A. To War. 1888]. 992: 822:A Group Saying Goodbye to a New Recruit 754:A Group Saying Goodbye to a New Recruit 2539: 2498: 2495:: Пермское книжное издательство. 1963. 2468: 2424: 2345: 2146:Society for Travelling Art Exhibitions 1838: 1803:Perm State Art Gallery catalogue (1963 1798: 1796: 1705: 1701: 1699: 1650: 1648: 1646: 1644: 1642: 1629: 1627: 1625: 1623: 1610: 1608: 1595: 1593: 1568: 1566: 1564: 1562: 1537: 1535: 1533: 1443: 1441: 1439: 1393: 1391: 1318: 1316: 1303: 1301: 1289: 1287: 1274: 1272: 1270: 1025: 762:Soldiers Crowding at Railway Carriages 423:Christ and the Woman Taken in Adultery 340:Society for Travelling Art Exhibitions 211:Society for Travelling Art Exhibitions 129:Society for Travelling Art Exhibitions 2017:] (in Russian). А. Л. Каганович. 1928:[In the Russian genre - 38]. 1408: 1406: 1354: 1352: 1350: 1348: 1346: 1333: 1331: 1307: 1257: 1255: 1242: 1240: 1215: 1213: 1211: 1209: 1196: 1194: 1192: 1190: 1188: 1186: 1173: 1171: 1169: 1167: 1096: 1094: 1021: 1019: 1017: 1004: 1002: 1000: 998: 996: 976:The Morning of the Streltsy Execution 624:Old railway station landing stage in 267:The Morning of the Streltsy Execution 264:'s multi-figure historical painting, 7: 2491:] (in Russian). В.И. Корнилова. 1154: 1152: 1115: 1113: 1111: 1109: 1009:State Russian Museum catalogue (1980 301:In his diaries, the State Secretary 96:is a painting by the Russian artist 16:1888 painting by Konstantin Savitsky 2023:Academy of Arts of the Soviet Union 1899:История русской живописи в XIX веке 1471: 1247:V. V. Stasov - Selected Works (1952 170:, who subsequently presented it to 2084:Дневник государственного секретаря 1952:Гомберг-Вержбинская, Э.П. (1970). 1083:] (in Russian). Vol. 28. 879:A smaller version of the painting 656:Studies, fragments and repetitions 331:Grand Duchess Elizaveta Feodorovna 14: 2563:"Савицкий К. А. — На войну. 1888" 2312:] (in Russian). Vol. 1. 2295:] (in Russian). Vol. 1. 2264:] (in Russian). Vol. 2. 1802: 1068:"Савицкий Константин Аполлонович" 506:, and in a private collection in 399:Reply of the Zaporozhian Cossacks 319:Grand Duke Vladimir Alexandrovich 2633:Collection of the Russian Museum 2316:: Пермское книжное издательство. 2036:Konstantin Apollonovich Savitsky 1008: 856: 842: 828: 814: 800: 728: 714: 700: 562: 550: 538: 384:, was originally located in the 2032:Константин Аполлонович Савицкий 1448:Иванова & Кондратович (2003 1039:"Савицкий К. А. На войну. 1888" 317:(perhaps one of the sketches). 923:describes Savitsky's painting 520:Russo-Turkish War of 1877-1878 118:Russo-Turkish War of 1877-1878 1: 2310:Perm State Art Gallery. Guide 2088:Diary of a Secretary of State 1485:"Михайловский дворец, зал 31" 780:. Another fragment, entitled 1778:(in Russian). Archived from 1749:(in Russian). Archived from 1691:Russian genre painting (1964 1491:(in Russian). Archived from 1383:Russian genre painting (1964 1132:Russian genre painting (1964 1045:(in Russian). Archived from 904:on 6 March 1888, the critic 307:The Opening of the Sea Canal 2606:(in Russian). 23 April 2017 2180:: Санкт-Петербург Оркестр. 935:, are inferior to those of 664:dated 1878-1880. These are 110:Sending Recruits Off to War 2654: 2223:Сокольников, М.П. (1947). 2062:Моложавенко, В.С. (1976). 2021:: Publishing house of the 2011:История русского искусства 967:Repair Work on the Railway 962:Barge Haulers on the Volga 462:Harvest time (The Reapers) 2411:: Palace Editions. 2017. 2332:: Красная площадь. 2006. 2195:Сарабьянов, Д.В. (1955). 1679:Гомберг-Вержбинская (1970 1585:Гомберг-Вержбинская (1970 1542:Гомберг-Вержбинская (1970 1279:Гомберг-Вержбинская (1970 1144:Гомберг-Вержбинская (1970 894:News and Exchange Gazette 219:Vsemirnaya Illyustratsiya 26: 2140:Рогинская, Ф.С. (1989). 1983:Жанровые сцены. Часть II 1947:(in Russian) (4): 62–65. 1924:Боровиков, С.Г. (2008). 583:The group saying goodbye 327:Empress Maria Feodorovna 2030:Левенфиш, Е.Г. (1959). 514:Subject and description 496:State Tretyakov Gallery 487:State Tretyakov Gallery 203:State Tretyakov Gallery 172:Alexander Alexandrovich 2546:: CS1 maint: others ( 2505:: CS1 maint: others ( 2475:: CS1 maint: others ( 2431:: CS1 maint: others ( 2352:: CS1 maint: others ( 2304:Цветова, А.В. (1959). 2168:Романов, Г.Б. (2003). 2015:History of Russian Art 1926:"В русском жанре — 38" 1867:Артёмов, В.В. (2002). 836:A Group Saying Goodbye 770:A Group Saying Goodbye 748:(canvas, oil, 1880) - 722:Three Peasants Walking 678:Three Peasants Walking 628: 377: 298: 206: 182:, which he painted in 136:pieces by the artist. 1988:Genre scenes. Part II 887:Reviews and criticism 760:Museum in 1929), and 649:standing at attention 623: 368: 296: 244:Peterburgskaya Gazeta 237:Peterburgskaya Gazeta 200: 2521:]. Т.Н. Горина. 2453:State Russian Museum 2369:] (in Russian). 2203:] (in Russian). 2176:] (in Russian). 2148:] (in Russian). 2080:Polovtsov, Alexander 2070:] (in Russian). 2038:] (in Russian). 1960:] (in Russian). 1905:] (in Russian). 766:State Russian Museum 500:State Russian Museum 390:State Russian Museum 375:State Russian Museum 102:State Russian Museum 2074:: Советская Россия. 2025:. pp. 217–222. 1853:, pp. 246–247) 1708:, pp. 109–110) 1134:, pp. 201–202) 1081:: Savarni - Saharon 708:Peasant at the Cart 674:Peasant at the Cart 466:Grigoriy Myasoyedov 458:Mikhailovsky Palace 436:Konstantin Makovsky 428:Wilhelm Kotarbiński 303:Alexander Polovtsov 98:Konstantin Savitsky 40:Konstantin Savitsky 778:Poltava Art Museum 629: 504:Poltava Art Museum 476:Nikolai Yaroshenko 444:Henryk Siemiradzki 378: 355:Alexander Kiselyov 299: 207: 2418:978-3-906917-17-7 2094:: Центрполиграф. 1895:Benois, Alexandre 1829:, pp. 24–25) 1817:, pp. 43–44) 1732:, pp. 62–63) 1681:, pp. 60–62) 1669:, pp. 28–29) 1667:Сокольников (1947 1602:, pp. 96–97) 1527:, pp. 62–65) 1338:Сокольников (1947 1146:, pp. 59–60) 1120:Сокольников (1947 1101:Моложавенко (1976 981:Boyarina Morozova 944:Seeing off to War 776:, is held in the 449:Christ and Sinner 168:Alexey Bogolyubov 114:Seeing Off to War 89: 88: 2645: 2614: 2612: 2611: 2595: 2593: 2592: 2576: 2574: 2573: 2551: 2545: 2537: 2535: 2510: 2504: 2496: 2480: 2474: 2466: 2449:Saint Petersburg 2436: 2430: 2422: 2409:Saint Petersburg 2396: 2394: 2383: 2357: 2351: 2343: 2317: 2300: 2285:Stasov, Vladimir 2280: 2278: 2252:Stasov, Vladimir 2247: 2245: 2219: 2217: 2191: 2178:Saint Petersburg 2164: 2162: 2136: 2134: 2118:Selected Letters 2114:Избранные письма 2105: 2075: 2058: 2056: 2026: 2005: 1976: 1974: 1948: 1937: 1920: 1890: 1854: 1851:Сарабьянов (1955 1848: 1842: 1836: 1830: 1824: 1818: 1812: 1806: 1800: 1791: 1790: 1788: 1787: 1768: 1762: 1761: 1759: 1758: 1739: 1733: 1730:Гольдштейн (1957 1727: 1721: 1715: 1709: 1703: 1694: 1688: 1682: 1676: 1670: 1664: 1658: 1652: 1637: 1634:Сарабьянов (1955 1631: 1618: 1615:Сарабьянов (1955 1612: 1603: 1597: 1588: 1582: 1576: 1570: 1557: 1554:Коровкевич (1961 1551: 1545: 1539: 1528: 1525:Гольдштейн (1957 1522: 1516: 1513:Гольдштейн (1957 1510: 1504: 1503: 1501: 1500: 1481: 1475: 1469: 1463: 1457: 1451: 1445: 1434: 1432:Боровиков (2008) 1429: 1423: 1422: 1410: 1401: 1398:Сарабьянов (1955 1395: 1386: 1380: 1374: 1368: 1362: 1356: 1341: 1335: 1326: 1320: 1311: 1305: 1296: 1294:Рогинская (1989) 1291: 1282: 1276: 1265: 1259: 1250: 1244: 1235: 1229: 1223: 1220:Гольдштейн (1957 1217: 1204: 1201:Гольдштейн (1957 1198: 1181: 1175: 1162: 1159:Сарабьянов (1955 1156: 1147: 1141: 1135: 1129: 1123: 1117: 1104: 1098: 1089: 1088: 1085:Saint Petersburg 1064: 1058: 1057: 1055: 1054: 1035: 1029: 1023: 1012: 1006: 921:Alexandre Benois 902: 860: 846: 832: 818: 804: 732: 718: 704: 566: 554: 542: 440:Kissing Ceremony 84:Saint Petersburg 31: 19: 2653: 2652: 2648: 2647: 2646: 2644: 2643: 2642: 2618: 2617: 2609: 2607: 2598: 2590: 2588: 2579: 2571: 2569: 2561: 2558: 2538: 2529: 2513: 2497: 2483: 2467: 2463: 2439: 2423: 2419: 2399: 2388: 2377: 2361: 2344: 2340: 2320: 2303: 2283: 2272: 2250: 2239: 2222: 2211: 2194: 2188: 2167: 2156: 2139: 2128: 2108: 2102: 2078: 2061: 2050: 2029: 2008: 2002: 1979: 1968: 1951: 1940: 1923: 1917: 1893: 1887: 1866: 1863: 1858: 1857: 1849: 1845: 1837: 1833: 1825: 1821: 1813: 1809: 1801: 1794: 1785: 1783: 1770: 1769: 1765: 1756: 1754: 1741: 1740: 1736: 1728: 1724: 1716: 1712: 1704: 1697: 1689: 1685: 1677: 1673: 1665: 1661: 1653: 1640: 1632: 1621: 1613: 1606: 1598: 1591: 1583: 1579: 1571: 1560: 1552: 1548: 1540: 1531: 1523: 1519: 1511: 1507: 1498: 1496: 1483: 1482: 1478: 1470: 1466: 1458: 1454: 1446: 1437: 1430: 1426: 1416: 1411: 1404: 1396: 1389: 1381: 1377: 1371:Рогинская (1989 1369: 1365: 1357: 1344: 1336: 1329: 1321: 1314: 1306: 1299: 1292: 1285: 1277: 1268: 1260: 1253: 1245: 1238: 1230: 1226: 1218: 1207: 1199: 1184: 1176: 1165: 1157: 1150: 1142: 1138: 1130: 1126: 1118: 1107: 1099: 1092: 1066: 1065: 1061: 1052: 1050: 1037: 1036: 1032: 1024: 1015: 1007: 994: 989: 965:and Savitsky's 906:Vladimir Stasov 896: 889: 870: 869: 868: 867: 866: 861: 853: 852: 847: 839: 838: 833: 825: 824: 819: 811: 810: 805: 796: 795: 758:Ilya Ostroukhov 742: 741: 740: 739: 738: 733: 725: 724: 719: 711: 710: 705: 696: 695: 658: 574: 573: 572: 571: 570: 567: 559: 558: 555: 547: 546: 543: 534: 533: 516: 471:In a Warm Lands 411:'s conquest of 363: 323:Academy of Arts 254: 160: 155: 133:Vladimir Stasov 17: 12: 11: 5: 2651: 2649: 2641: 2640: 2635: 2630: 2628:1888 paintings 2620: 2619: 2616: 2615: 2596: 2577: 2557: 2556:External links 2554: 2553: 2552: 2511: 2481: 2461: 2437: 2417: 2397: 2359: 2338: 2318: 2301: 2281: 2248: 2220: 2192: 2186: 2165: 2137: 2106: 2100: 2076: 2059: 2027: 2006: 2000: 1977: 1949: 1938: 1932:(in Russian). 1921: 1915: 1909:: Республика. 1891: 1885: 1879:: Олма-пресс. 1862: 1859: 1856: 1855: 1843: 1841:, p. 280) 1831: 1819: 1807: 1792: 1763: 1734: 1722: 1710: 1695: 1693:, p. 203) 1683: 1671: 1659: 1655:Левенфиш (1959 1638: 1636:, p. 244) 1619: 1617:, p. 246) 1604: 1600:Левенфиш (1959 1589: 1577: 1573:Левенфиш (1959 1558: 1556:, p. 221) 1546: 1529: 1517: 1505: 1476: 1464: 1462:, p. 100) 1460:Левенфиш (1959 1452: 1435: 1424: 1415:, p. 476) 1413:Половцов (2005 1402: 1400:, p. 242) 1387: 1385:, p. 378) 1375: 1373:, p. 102) 1363: 1359:Левенфиш (1959 1342: 1327: 1312: 1310:, p. 346) 1297: 1283: 1266: 1262:Левенфиш (1959 1251: 1249:, p. 469) 1236: 1234:, p. 253) 1224: 1205: 1182: 1180:, p. 269) 1163: 1161:, p. 241) 1148: 1136: 1124: 1105: 1103:, p. 298) 1090: 1059: 1030: 1028:, p. 110) 1013: 1011:, p. 291) 991: 990: 988: 985: 888: 885: 874:Crying Soldier 862: 855: 854: 848: 841: 840: 834: 827: 826: 820: 813: 812: 806: 799: 798: 797: 789: 788: 787: 786: 734: 727: 726: 720: 713: 712: 706: 699: 698: 697: 689: 688: 687: 686: 682:Mikhail Avilov 657: 654: 587:Russian Museum 568: 561: 560: 556: 549: 548: 544: 537: 536: 535: 527: 526: 525: 524: 515: 512: 478:, and others. 418:Vasily Polenov 404:Vasily Surikov 362: 361:After creation 359: 280:Russian Museum 272:Crying Soldier 262:Vasily Surikov 253: 250: 159: 156: 154: 151: 106:St. Petersburg 87: 86: 80:Russian Museum 77: 73: 72: 69: 65: 64: 55: 51: 50: 47: 43: 42: 37: 33: 32: 24: 23: 15: 13: 10: 9: 6: 4: 3: 2: 2650: 2639: 2636: 2634: 2631: 2629: 2626: 2625: 2623: 2605: 2601: 2597: 2586: 2582: 2578: 2568: 2564: 2560: 2559: 2555: 2549: 2543: 2533: 2528: 2524: 2520: 2516: 2512: 2508: 2502: 2494: 2490: 2486: 2482: 2478: 2472: 2464: 2462:5-900872-04-1 2458: 2454: 2450: 2446: 2442: 2438: 2434: 2428: 2420: 2414: 2410: 2406: 2402: 2398: 2392: 2387: 2381: 2376: 2372: 2368: 2364: 2360: 2355: 2349: 2341: 2339:5-900743-22-5 2335: 2331: 2327: 2323: 2319: 2315: 2311: 2307: 2302: 2298: 2294: 2290: 2286: 2282: 2276: 2271: 2267: 2263: 2259: 2258: 2253: 2249: 2243: 2238: 2234: 2230: 2226: 2221: 2215: 2210: 2206: 2202: 2198: 2193: 2189: 2187:5-87685-054-3 2183: 2179: 2175: 2171: 2166: 2160: 2155: 2151: 2147: 2143: 2138: 2132: 2127: 2123: 2119: 2115: 2111: 2107: 2103: 2101:5-9524-1196-7 2097: 2093: 2089: 2085: 2081: 2077: 2073: 2069: 2065: 2060: 2054: 2049: 2045: 2041: 2037: 2033: 2028: 2024: 2020: 2016: 2012: 2007: 2003: 2001:5-901227-38-7 1997: 1993: 1989: 1985: 1984: 1978: 1972: 1967: 1963: 1959: 1958:Peredvizhniki 1955: 1950: 1946: 1945: 1939: 1935: 1931: 1927: 1922: 1918: 1916:5-250-02524-2 1912: 1908: 1904: 1900: 1896: 1892: 1888: 1886:5-224-01585-5 1882: 1878: 1874: 1870: 1865: 1864: 1860: 1852: 1847: 1844: 1840: 1835: 1832: 1828: 1823: 1820: 1816: 1815:Цветова (1959 1811: 1808: 1805:, p. 46) 1804: 1799: 1797: 1793: 1782:on 2019-06-22 1781: 1777: 1773: 1767: 1764: 1753:on 2019-05-26 1752: 1748: 1744: 1738: 1735: 1731: 1726: 1723: 1720:, p. 47) 1719: 1718:Романов (2003 1714: 1711: 1707: 1702: 1700: 1696: 1692: 1687: 1684: 1680: 1675: 1672: 1668: 1663: 1660: 1657:, p. 97) 1656: 1651: 1649: 1647: 1645: 1643: 1639: 1635: 1630: 1628: 1626: 1624: 1620: 1616: 1611: 1609: 1605: 1601: 1596: 1594: 1590: 1587:, p. 62) 1586: 1581: 1578: 1575:, p. 96) 1574: 1569: 1567: 1565: 1563: 1559: 1555: 1550: 1547: 1544:, p. 60) 1543: 1538: 1536: 1534: 1530: 1526: 1521: 1518: 1515:, p. 62) 1514: 1509: 1506: 1495:on 2018-03-18 1494: 1490: 1486: 1480: 1477: 1474:, p. 33) 1473: 1468: 1465: 1461: 1456: 1453: 1450:, p. 11) 1449: 1444: 1442: 1440: 1436: 1433: 1428: 1425: 1420: 1414: 1409: 1407: 1403: 1399: 1394: 1392: 1388: 1384: 1379: 1376: 1372: 1367: 1364: 1361:, p. 98) 1360: 1355: 1353: 1351: 1349: 1347: 1343: 1340:, p. 26) 1339: 1334: 1332: 1328: 1325:, p. 25) 1324: 1319: 1317: 1313: 1309: 1304: 1302: 1298: 1295: 1290: 1288: 1284: 1281:, p. 59) 1280: 1275: 1273: 1271: 1267: 1264:, p. 95) 1263: 1258: 1256: 1252: 1248: 1243: 1241: 1237: 1233: 1232:Артёмов (2002 1228: 1225: 1222:, p. 64) 1221: 1216: 1214: 1212: 1210: 1206: 1203:, p. 63) 1202: 1197: 1195: 1193: 1191: 1189: 1187: 1183: 1179: 1174: 1172: 1170: 1168: 1164: 1160: 1155: 1153: 1149: 1145: 1140: 1137: 1133: 1128: 1125: 1122:, p. 27) 1121: 1116: 1114: 1112: 1110: 1106: 1102: 1097: 1095: 1091: 1086: 1082: 1080: 1075: 1074: 1069: 1063: 1060: 1049:on 2018-02-09 1048: 1044: 1040: 1034: 1031: 1027: 1022: 1020: 1018: 1014: 1010: 1005: 1003: 1001: 999: 997: 993: 986: 984: 982: 978: 977: 973:paintings as 972: 968: 964: 963: 958: 953: 948: 945: 940: 938: 934: 930: 929:Peredvizhniki 926: 922: 918: 915:In his book, 913: 911: 907: 903: 900: 895: 886: 884: 882: 877: 875: 865: 859: 851: 845: 837: 831: 823: 817: 809: 803: 793: 785: 783: 779: 775: 771: 767: 763: 759: 755: 751: 747: 737: 736:Two Old Women 731: 723: 717: 709: 703: 693: 685: 683: 679: 675: 671: 667: 666:Two Old Women 663: 655: 653: 650: 646: 641: 639: 633: 627: 622: 618: 616: 612: 608: 604: 600: 596: 590: 588: 584: 578: 565: 553: 541: 531: 523: 521: 513: 511: 509: 505: 501: 497: 493: 488: 484: 479: 477: 473: 472: 467: 463: 459: 455: 452:. The canvas 451: 450: 445: 441: 437: 433: 429: 425: 424: 419: 415: 414: 410: 405: 401: 400: 395: 391: 387: 386:Winter Palace 383: 380:The painting 376: 372: 369:The painting 367: 360: 358: 356: 352: 347: 345: 341: 335: 332: 328: 324: 320: 316: 312: 311:Alexander III 308: 304: 295: 291: 289: 285: 281: 277: 273: 269: 268: 263: 259: 251: 249: 246: 245: 239: 238: 233: 228: 227: 226:Novoye Vremya 221: 220: 214: 212: 204: 199: 195: 193: 192:Ivan Kramskoi 189: 185: 181: 177: 174:, the future 173: 169: 165: 157: 152: 150: 148: 143: 137: 134: 130: 126: 121: 119: 115: 111: 107: 103: 99: 95: 94: 85: 81: 78: 74: 70: 66: 63: 59: 56: 52: 48: 44: 41: 38: 34: 30: 25: 20: 2608:. Retrieved 2603: 2589:. Retrieved 2587:(in Russian) 2584: 2570:. 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