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oapen-20.500.12657-558532022-06-02T03:18:49Z Chapter Les tableaux maudits, en France et en Russie Gonneau, Pierre Il’ja Repin Nikolaj Ge Theodore Gericault Ivan the Terrible Peter the Great I. Repin’s “Ivan the Terrible and his son”, exhibited in 1885, in a very tense social and political context, sparked off fierce reactions. While the Itinerant painter Kramskoj is enthusiastic, the ge-neral-prosecutor of the Holy Synod, K. Pobedonoscev, finds the painting “simply repulsive”. In France a similar scandal was caused by Gericault’s “Raft of the Medusa” (1819). It represents the last instants of the martyrdom of the survivors of the Medusa’s shipwreck (1816). Repin’s painting, unlike that of Gericault, keeps on arousing a great hostility nowadays in conservative Russian circles. 2022-06-01T12:07:20Z 2022-06-01T12:07:20Z 2017 chapter ONIX_20220601_9788864535074_36 2612-7679 9788864535074 https://library.oapen.org/handle/20.500.12657/55853 fre Biblioteca di Studi Slavistici application/pdf Attribution 4.0 International 26500.pdf https://books.fupress.com/doi/capitoli/978-88-6453-507-4_14 Firenze University Press 10.36253/978-88-6453-507-4.14 10.36253/978-88-6453-507-4.14 bf65d21a-78e5-4ba2-983a-dbfa90962870 9788864535074 36 16 Florence open access
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I. Repin’s “Ivan the Terrible and his son”, exhibited in 1885, in a very tense social and political context, sparked off fierce reactions. While the Itinerant painter Kramskoj is enthusiastic, the ge-neral-prosecutor of the Holy Synod, K. Pobedonoscev, finds the painting “simply repulsive”. In France a similar scandal was caused by Gericault’s “Raft of the Medusa” (1819). It represents the last instants of the martyrdom of the survivors of the Medusa’s shipwreck (1816). Repin’s painting, unlike that of Gericault, keeps on arousing a great hostility nowadays in conservative Russian circles.
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26500.pdf
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Firenze University Press
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2022
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https://books.fupress.com/doi/capitoli/978-88-6453-507-4_14
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