19 IMAGES FROM THE 19th CENTURY: PART 19 - Temptation of Christ

Title: Temptation of Christ
Artist: Ilya Repin
Medium: Oil on canvas
Size: tbd
Date: 1896
Location: tbd

19 IMAGES FROM THE 19th CENTURY: PART 19

Matthew 4:8-10 Again the devil takes him to a very high mountain, and shows him all the kingdoms of the world, and their glory, and says to him “All these things will I give thee if, falling down, thou wilt do me homage.” Then says Jesus to him, “Get thee away, Satan, for it is written, Thou shalt do homage to the Lord thy God, and him alone shalt thou serve.”

Traditional academics have argued that great religious painting ends with Tiepolo (1696 – 1770), that subsequent painters produced charming works, but did nothing new. But as we have seen, the nineteenth century was a period of creative searching and upheaval for European artists, notably among the French. Traditionalists, like Ingres, tried to stem the tide of new styles, but by the time of his death in 1867, a new generation of creative talent, such as Manet and Cezanne, had forged the way ahead. The Symbolist movement, a continuation of the Romantic tradition of artists like Blake and Turner, anticipated the psychology of Freud and Jung. With notable artists such as Bocklin and Redon, their use of mythological and dream imagery created a visual language of the soul, and made extensive use of Christian imagery. More a philosophical approach than an actual style of art, they were a major influence on some Expressionists. Like most Europeans of the nineteenth century, all these artists were raised in a Christian culture, with early life organized around the central rituals of the church. This does not mean, necessarily, that they were pious, conservative church-goers, but only that such a milieu allowed their creative spirits inspiration to create some masterpieces of Christian art.

Ilya Yefimovich Repin (August 1844 – September, 1930) was a leading Russian painter and sculptor of the Peredvizhniki artistic school. His realistic works often expressed great psychological depth and exposed the tensions within the existing social order. During his maturity, Repin painted many of his most celebrated compatriots, including the novelist Leo Tolstoy. Additionally, Repin devoted much time to painting religious subjects, though his treatment of these was usually innovative and not traditional. Shortly after 1900 Repin moved to Kuokkala, Finland, located about an hour's train ride from St. Petersburg. Later, as the artist did not accept the Revolution of 1917, he did not want to go back to Russia, even though in 1926 a delegation sent by the Ministry of Education of the Soviet Union helped him financially and tried to entice him to return. To acknowledge and commemorate Repin's artistic achievement, in 1948 Kuokkala was renamed Repino.

Taking Christ Ward

Title: Taking Christ Ward
Artist: Ilya Repin
Medium: Oil on canvas.
Size: tbd
Date: 1886
Location: tbd

John 18:1-14 When he had finished praying, Jesus left with his disciples and crossed the Kidron Valley. On the other side there was a garden, and he and his disciples went into it. Now Judas, who betrayed him, knew the place, because Jesus had often met there with his disciples. So Judas came to the garden, guiding a detachment of soldiers and some officials from the chief priests and the Pharisees. They were carrying torches, lanterns and weapons. Jesus, knowing all that was going to happen to him, went out and asked them, “Who is it you want?” They replied, “Jesus of Nazareth.” (And Judas the traitor was standing there with them.) “I am he,” Jesus said. When Jesus said, “I am he,” they drew back and fell to the ground. Again he asked them, “Who is it you want?” They replied, “Jesus of Nazareth.” Jesus answered, “I told you that I am he. If you are looking for me, then let these men go.” This happened so that the words he had spoken would be fulfilled: “I have not lost one of those you gave me. “Then Simon Peter, who had a sword, drew it and struck the high priest’s servant, cutting off his right ear. (The servant’s name was Malchus.) Jesus commanded Peter, “Put your sword away! Shall I not drink the cup the Father has given me?” Then the detachment of soldiers with its commander and the Jewish officials arrested Jesus. They bound him and brought him first to Annas, who was the father-in-law of Caiaphas, the high priest that year. Caiaphas was the one who had advised the Jewish leaders that it would be good if one man died for the people.

The group that came to arrest Jesus was composed of Roman soldiers, Jewish servants and an apostate apostle. John will make it clear that both Jew and Gentile are guilty of the death of the Son of God. Jesus is about to die for the life of the world, and the whole world needs it. The Jewish forces that were sent were not a police force as such but court servants at the disposal of the Sanhedrin when necessary for police purposes. The detachment of soldiers (speira) refers to a cohort, a group of 600 soldiers under a military tribune. The entire cohort would not have been deployed on this mission, but there would have been a significant force. The festivals in Jerusalem were always politically volatile, and after the welcome Jesus had received there was good reason to expect trouble--or so it would have seemed to the Roman and Jewish authorities who understood Jesus so poorly. They bring torches and lanterns to search for the Light of the World; they bring weapons against the Prince of Peace.

Ilya Yefimovich Repin (August 1844 – September, 1930) was a leading Russian painter and sculptor of the Peredvizhniki artistic school. In 1866, after apprenticeship with a local icon painter named Bunakov and preliminary study of portrait painting, he went to Saint Petersburg and was shortly admitted to the Imperial Academy of Arts as a student. From 1873 to 1876 on the Academy's allowance, Repin sojourned in Italy and lived in Paris, where he was exposed to French Impressionist painting, which had a lasting effect upon his use of light and color. His realistic works often expressed great psychological depth and exposed the tensions within the existing social order. Beginning in the late 1920s, detailed works on him were published in the Soviet Union, where a Repin cult developed about a decade later, and where he was held up as a model "progressive" and "realist" to be imitated by "Socialist Realist" artists in the USSR.

Golgotha (The Crucifixion of Christ)

Title: Golgotha (The Crucifixion of Christ)

Artist: Ilya Repin

Medium: Oil on Canvas

Size: 99 x 80cm

Date: 1869

Location: tbd.

The site of the crucifixion, “The Place of the Skull”, was likely so named because so many deaths had occurred there. The suggestion that the place was so named because it was shaped like a skull is possible, but the likelihood that the Romans happened to find a conspicuous place outside the city walls of Jerusalem, that happened to be shaped like a skull, seems suspect at best.

This painting of the chaos on Golgotha is a masterpiece of composition. The heavy sky, punctuated only by the raising of Jesus on the cross, lies in contrast to the mass of curious humanity in the lower half of the canvas. Chariots, onlookers, and banners all vie for position. On the far right is what appears to be a small group of Jesus’ followers. In Mark’s gospel, the disciples are notably absent after Jesus’ arrest, Mark (15:40) notes that “And there were also women beholding from afar”.

Ilya Yefimovich Repin (5 August 1844, Chuguyev, Kharkov Governorate, Russian Empire – September 29, 1930, Kuokkala, Finland) was a leading Russian painter and sculptor of the Peredvizhniki artistic school. In 1866, after apprenticeship with a local icon painter named Bunakov and preliminary study of portrait painting, he went to Saint Petersburg and was shortly admitted to the Imperial Academy of Arts as a student. From 1873 to 1876 on the Academy's allowance, Repin sojourned in Italy and lived in Paris, where he was exposed to French Impressionist painting, which had a lasting effect upon his use of light and color. His realistic works often expressed great psychological depth and exposed the tensions within the existing social order. Beginning in the late 1920s, detailed works on him were published in the Soviet Union, where a Repin cult developed about a decade later, and where he was held up as a model "progressive" and "realist" to be imitated by "Socialist Realist" artists in the USSR.