Summary:
This paper analyzes the rise and development of the Russian Itinerant Exhibition School in the late 19th and early 20th centuries and its profound influence on Russian and world art. The article first reviews the background of the formation of the school and points out its important role in criticizing the tsarist autocracy and advocating the democratization of art. Then, through the analysis of representative painters such as Repin, Levitan, and Shishkin, and their representative works, he shows how the school used realism to reflect social reality as a mirror and criticize social injustice as a sword.
I. Introduction
Russia in the 19th century was at a turning point in history, the country was in the transition from feudal society to capitalism, and social contradictions were becoming increasingly acute. During this period, the process of industrialization accelerated, the urban population increased dramatically, and at the same time, the peasants lived in hardship and class conflicts were frequent. The autocratic rule of the tsarist government contrasted sharply with the onslaught of Western liberal ideas, which provoked the awakening and revolt of the intellectual class. In this social context, the art field has also undergone profound changes, and artists have begun to seek a new artistic language to reflect the true face of the times and express their concern and criticism of the current social situation.
In terms of artistic atmosphere, with Peter the Great's Westernization policy, Russian art was gradually influenced by Europe, especially Western European art, but artists also began to explore artistic expressions with local characteristics. At this time, the official academic art was dominant, but its conservative and formulaic style was increasingly difficult to meet the needs of the emerging social currents. It was under this dual tension between art and society that the itinerant exhibition school came into being, which became a clear stream in the Russian art scene in the second half of the 19th century.
II. The Birth and Growth Environment of the Traveling Exhibition School
A. The "14-Person Protest" and the Historical Opportunity for the Establishment of the School of Painting
In the middle of the 19th century, the Russian art scene underwent a decisive transformation. In 1863, 14 students of the St. Petersburg Royal Academy of Fine Arts refused to participate in a competition held by the Academy because they were dissatisfied with the Academy's strict restrictions on creative themes and its excessive promotion of classicism. They advocated that art should be close to real life, focusing on the suffering of ordinary people and the reality of the country, rather than being limited to myths and biblical stories.
This courageous act not only marked a break with the official art education system, but also became the direct trigger for the establishment of the Itinerant School of Painting. Subsequently, this group of like-minded artists, under the leadership of Kramskoy, officially founded the Itinerant Exhibition School in 1870. The establishment of the school was a bold challenge to the established artistic order and a powerful impetus to the development of Russian realist art.
B. The urgent need for social change and the cultural soil
In the second half of the 19th century, Russian society was in a period of dramatic transformation, and the rapid advance of industrialization and urbanization was accompanied by deep social contradictions and class conflicts. Rural poverty, the remnants of serfdom, the rise of the working class, and the desire for liberal democracy constitute a complex and tense social background. In such an environment, there is an urgent need for an art form that reflects reality and resonates.
Acutely aware of this need, the artists of the Itinerant Exhibition School confronted social realities, depicting the diversity of Russian society at the time, from the luxury of the aristocracy to the hardships of the peasants, from the hustle and bustle of the city to the tranquility of the countryside. Deeply influenced by Enlightenment thinkers such as Rousseau and Belinsky, the artists of the school emphasized the moral and social responsibility of art, and regarded art as a tool to promote social progress, which coincided with the urgent need for social change at that time.
C. Support and restrictions on the school of painting by national policies and sponsorship systems
In the early days of its establishment, the Itinerant Exhibition School did not receive direct support from the state, and was even subjected to official cold reception and restrictions to some extent. Because his artistic ideas were contrary to the academic aesthetics advocated by the government, the members of the painting school faced many difficulties in terms of exhibition venues and funding sources. However, it was precisely this external pressure that prompted the school to adopt an innovative mode of operation – itinerant exhibitions. They raised their own funds and brought their works of art to the cities and even villages of Moscow, St. Petersburg and other provinces, so that art really entered the people and won widespread social recognition and support.
Over time, the artistic achievements and social influence of the school gradually received official recognition, some works were acquired by the state, and some artists were also awarded honors, which to a certain extent reflected a subtle shift in national policy. Despite this, the school has always maintained its independence and critical spirit, and has never been completely constrained by any political or economic interests, which guarantees the purity and depth of its artistic creation, making it a formidable force to be reckoned with in the history of Russian and world art.
III. Theoretical Cornerstones: "Beauty is Life" and the Aesthetic Pursuit of the Itinerant Exhibition School
A. The influence of Chernyshevsky's aesthetic principles on the school
Nikolai Chernyshevsky's aesthetic theory, especially his famous proposition that "beauty is life", had a profound influence on the formation and development of the traveling exhibition school. Chernyshevsky believed that art should faithfully reflect life, express its diversity and authenticity, and the value of art lies in its ability to inspire people's yearning and pursuit of a better life. This theory coincides with the core concept of the Itinerant Exhibition School and has become the theoretical cornerstone of the artists of the School.
They see art as a tool to transform society, by depicting people's daily lives, showing social problems, and inspiring public compassion and a sense of reform. Chernyshevsky's ideas encouraged artists of the school to go deep into the people, find inspiration, and create works that are both artistic and rich in profound social significance, such as Repin's "Slender Man on the Volga", etc., which not only reflect the spiritual essence of Chernyshevsky's aesthetic principles, but also become a model for the aesthetic pursuit of the traveling exhibition school.
B. The formation and development of the concept of realist art
The realist art concept of the Itinerant Exhibition School was formed on the basis of inheriting and developing the European realist tradition. In Europe in the 19th century, the realist art movement was surging, opposing the fiction and exaggeration of Romanticism, and advocating that art should truly reflect social reality. On this basis, the Russian Itinerant Exhibition School further deepened it, not only pursuing the realism of the picture, but also paying more attention to the social function of art, emphasizing that art should serve the people, expose social injustice, and promote social progress.
With the development of the painting school, the concept of realism art has been constantly enriched and improved, from the initial direct depiction of nature and the image of working people, to the deep excavation of the inner world of the characters, as well as the profound criticism of social phenomena. This development makes the realist art of the Itinerant Exhibition School more fuller and three-dimensional, with a strong sense of the times and a sense of historical mission.
C. The combination of "realistic representation of life" and critical realism
The artistic practice of the Itinerant Exhibition School perfectly combines the two core elements of "realistic representation of life" and critical realism. The artists of the school went deep into life and captured scenes of daily life in a realistic way, whether it was the city street scene or the rural scene, whether it was the hard work of the laborers or the leisure life of the aristocracy, all of which were recorded in detail. However, their purpose is not only to objectively reproduce, but more importantly, to reveal the inequality, suffering and contradictions of society through their works of art, and to question and criticize the existing social order.
For example, Surikov's "The Morning Before the Execution of the Guards" uses historical themes as a metaphor for rebellion against autocratic rule; Levitan's landscape paintings express his anxiety about the fate of his homeland and his vision for a better future through natural scenes. This combination makes the works of the Itinerant Exhibition School not only have high artistic value, but also become an important force to promote social thinking and change, fully embodying the dual role of "mirror" and "sword" of realist art.
IV. Artistic practice and stylistic characteristics of the itinerant exhibition school
A. Theme selection: people's lives, historical narratives and natural landscapes
In the choice of themes, the traveling exhibition school boldly broke through the stereotypes of the academic school, and focused on the life of the people in the vast land of Russia, the major historical events rich in national characteristics, and the magnificent and changeable natural landscapes. They depict the daily life of ordinary people, such as the work of peasants, family life, and the joys and sorrows of ordinary people, such as Repin's "Unexpected Return", which delicately depicts the moment when an exiled revolutionary suddenly returns home, and deeply reflects the complex and subtle psychological changes of family members.
In terms of historical narrative, the artists of the school incorporated a strong concern for reality through the reinterpretation of historical events, such as Surikov's "The Morning Before the Execution of the Guards", which alludes to the political climate of the society at that time through the historical reproduction of the palace coup d'état during the period of Peter the Great. In addition, natural landscapes are also a favorite theme of the traveling exhibition schools, such as Savlasov's landscape paintings, with their deep emotions and unique national temperament, showing the vastness and grandeur of the Russian land, such as "The Rook Flies Away" conveys the hope and vitality of the arrival of spring.
B. Techniques and Expressions: Use of Color, Compositional Innovation, and Emotional Expression
The itinerant exhibition school's exploration of techniques and forms of expression is also remarkable. They extensively absorbed the nourishment of Western European painting, and at the same time combined with the local characteristics of Russia, forming a unique artistic language. In terms of the use of color, painters are good at using rich tones to express the changes of light and the depth of emotion, such as Levitan's landscape paintings, which depict the grandeur and delicacy of nature with bright and varied colors, and convey deep poetry and philosophical thoughts.
In terms of composition, they dare to break with tradition and adopt novel perspectives and layouts to enhance the dynamic and narrative nature of the picture, such as Repin's "The Chaporosh Write a Letter to the Sultan of Turkey", in which the characters have different postures and staggered compositions, vividly showing the heroic spirit of national heroes. In terms of emotional expression, the works of the Itinerant Exhibition School are often full of the warmth of human nature and deep concern for society, and through the careful portrayal of details and the creation of atmosphere, the viewer can feel the inner world of the characters in the paintings and the thick background of the times.
C. Analysis of representative figures and classic works: the artistic contributions of Repin, Surikov, Savlasov and others
Repin: As a leading figure of the Itinerant Exhibition School, Repin created a series of shocking works with his profound social insight and exquisite painting skills. "The Slender Man on the Volga" is one of his most famous masterpieces, which shows the tragic fate and perseverance of the people at the bottom through the depiction of the difficult life of the slender man, and has become the pinnacle of critical realist art.
Surikov: As a master of history painting, Surikov's work shines at the intersection of art and history. "The Morning Before the Execution of the Guards" is not only an artistic reproduction of historical events, but also a profound exploration of human nature and power relations, with its complex composition and delicate psychological portrayal of characters, showing his outstanding artistic talent.
Savlasov: As a master in the field of landscape painting, Savrasov gave new life to Russian landscape painting with his unique brushstrokes and deep understanding of nature. His works such as "The Rook Flies Away" not only show the beauty of nature, but also contain a deep reflection on the fate of the country and the nation, opening a new era of Russian landscape painting.
These representatives and their classic works together constitute the rich and diverse artistic outlook of the traveling exhibition school, which not only made great achievements in art, but also left a valuable legacy for the history of art in Russia and the world, proving the irreplaceable role of art in reflecting real life and promoting social change.
V. The social influence and cultural value of the itinerant exhibition school
A. Educational Enlightenment Function: Promoting National Consciousness through Art
The artists of the Itinerant School of Painting not only focused on the innovation of art itself, but also saw it as a powerful educational tool. They went deep into the people, recorded and disseminated the people's living conditions with their brushes, so that art was no longer the exclusive property of the aristocracy, but became an important medium for popularizing knowledge and enlightening ideas. These works reveal the true face of society, stimulate public attention and discussion on social issues, and enhance the cultural literacy and self-awareness of the people. For example, Repin's "Unexpected Encounters" shows the subtle interaction of characters from different social classes in the same space, prompting the audience to reflect on the differences and integration between social classes, and playing a subtle educational role.
B. Political and social critique: reflecting and promoting social change
With keen observation and profound critical spirit, the artists of the Itinerant Exhibition School directly or indirectly reflected the various contradictions and problems of Russian society at the end of the 19th century, and played a positive role in promoting social reform. The social phenomena depicted by them, such as the remnants of serfdom, the hardships of the working class, and the low status of women, have aroused widespread social resonance and reflection. Through the power of art, they promoted public discontent with an unjust system, providing a basis for public opinion for later social reforms. For example, Surikov's historical paintings, although they depict stories of the past, reflect contemporary social realities and inspire people's desire for freedom, equality, and justice.
C. The shaping of the national spirit and the localization of the language of oil painting
In its artistic practice, the Itinerant Exhibition School not only absorbed the essence of Western art, but more importantly, deeply integrated these foreign elements with Russian national characteristics to create an artistic style with a distinctive Russian style. Through their depictions of the vast land of Russia, the excavation of national history, and the delicate portrayal of the daily life of the people, they have shaped a national spirit of perseverance and optimism.
At the same time, their attempts to localize the language of oil painting, such as the special treatment of natural light, the bold use of color, and the profound grasp of the character of the characters, have greatly enriched the expression techniques of oil painting art in the world and won international reputation for Russian oil painting.
D. Exchange and influence on the international art community
The activities of the Itinerant Exhibition School are not limited to China, and its works frequently participate in international exhibitions, and have carried out extensive exchanges with art schools in Europe and other regions, which has had a profound impact on the development of world art. Their artistic ideas and creative methods have provided inspiration for artists from other countries, especially for countries that are also in a period of social transition, and the artistic practice of the Itinerant Exhibition School has become an example of solving the problem of localization and internationalization.
For example, the profound connotation of realism and the emphasis on national spirit have inspired realist art movements in Eastern Europe, Northern Europe, and the United States. In addition, the international reputation of the artists of the Traveling Exhibition School has also attracted foreign students to study in Russia, which has promoted the international exchange of art education and culture.
VI. Conclusion
The far-reaching influence of the Russian Itinerant Exhibition School lasted throughout the 20th century, serving as a bridge between 19th-century realism and Soviet socialist realist art. At the beginning of the 20th century, the spirit of this school was inherited and developed by many artists, who continued to pay attention to social reality and explore the interweaving of national and personal destinies through art. Especially in the Soviet period, the itinerant exhibition painters' praise of the working people and the pursuit of social progress, which coincided with the state ideology, influenced the works of Soviet socialist realist painters, which were not only widely circulated in the country, but also represented the international image of Russian art to a certain extent. In the post-Soviet era, despite the more diverse artistic styles, the itinerant exhibition school's emphasis on the idea of the close connection between art and society has inspired a new generation of artists to explore national identities and social issues.
Author: Lu Xilin
Bibliography:
"A Study of the School of Painting in the Russian Traveling Exhibition"
Repin and the School of Traveling Exhibitions
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