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IL'IA REPIN AND DAVID BURLIUK

IL'IA REPIN AND DAVID BURLIUK ELIZABETH KRIDL VALKENIER I L ' I A R E P I N A N D D A V I D B U R L I U K History, and its demonstrable facts, imposes scruples upon interpretation. The initial fact here is that the publication in December 1912 o f the Futurist manifesto, A Slap in the Face o f Public Taste, caused no uproar, no scandal. But what did catapult David Burliuk, his friends, and their cause into public prominence was a fortuitous event that occurred the following month. On 13 January 1913, one Avram Balashev, an icon painter, mentally de- ranged, entered the Tret'iakov Gallery in Moscow and slashed Il'ia Repin's painting, Ivan the Terrible. The essence of that canvas is melodrama: in a fit o f rage, Ivan has just dealt his son a mortal blow, and, stricken with remorse, Ivan clutches the blood-stained body. The painting, executed in 1884, exem- plifies the historical genre o f that era. Three decades later, this picture had been enshrined by many art historians, critics, and the general public as a masterpiece of Russian Realism. It must be noted at the outset that the Realist school was not http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Canadian-American Slavic Studies Brill

IL'IA REPIN AND DAVID BURLIUK

VALKENIER, ELIZABETH KRIDL
Canadian-American Slavic Studies , Volume 20 (4): 53 – Jan 1, 1986
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Publisher
Brill
Copyright
© 1986 Koninklijke Brill NV, Leiden, The Netherlands
ISSN
0090-8290
eISSN
2210-2396
DOI
10.1163/221023986X00052
Publisher site
See Article on Publisher Site

Abstract

ELIZABETH KRIDL VALKENIER I L ' I A R E P I N A N D D A V I D B U R L I U K History, and its demonstrable facts, imposes scruples upon interpretation. The initial fact here is that the publication in December 1912 o f the Futurist manifesto, A Slap in the Face o f Public Taste, caused no uproar, no scandal. But what did catapult David Burliuk, his friends, and their cause into public prominence was a fortuitous event that occurred the following month. On 13 January 1913, one Avram Balashev, an icon painter, mentally de- ranged, entered the Tret'iakov Gallery in Moscow and slashed Il'ia Repin's painting, Ivan the Terrible. The essence of that canvas is melodrama: in a fit o f rage, Ivan has just dealt his son a mortal blow, and, stricken with remorse, Ivan clutches the blood-stained body. The painting, executed in 1884, exem- plifies the historical genre o f that era. Three decades later, this picture had been enshrined by many art historians, critics, and the general public as a masterpiece of Russian Realism. It must be noted at the outset that the Realist school was not

Journal

Canadian-American Slavic Studies – Brill

Published: Jan 1, 1986

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