Looking through the paintings that were assigned for class, I was drawn to Repin, who, similar to how Tolstoy is to written work, is often the one Russian painter that everyone knows. Again same as Tolstoy, I think this renowned praise is earned if not understated.
Specifically, I gravitated to Repin’s “The Barge Haulers on the Volga” which although magnificent to look at just on a computer screen, I am sure can’t compare to seeing the wall sized canvas in person. This painting struck me as a case study for our transition of units, from the artistic elevation of the rural peasant life to Russian revival and Russia’s belated adoption of modernization. In “The Barge Haulers,” Repin encapsulates this transition from physical laborer to modern machine.
In the paintings foreground are the barge haulers themselves, who are painted dimly all looking tattered, slumped over, tired, and overworked. This is with the exception of the only young barge hauler who is highlighted to distinguish him from the rest. Instead of downtrodden, this young man seems full of energy but uncomfortable, adjusting the strap that bears the weight of the boat behind him. The strap which connects him to those around him seems to be changing the flesh of his hands to the drab and muted color scheme of the rest of the crew. It is as if this labor is slowly changing him, indicated that his youthful glow is fading due to this extraordinary daily labor. Additionally, the young man is the only person with a cross around his neck, perhaps noting that his youthful faith is also something which is degrading.
In the back-right corner of the painting, Repin includes a distant steam ship, a technology which will make the work of the Barge Haulers unnecessary. In contrast to the turmoil and suffering seen in the haulers, the steamboat becomes a complicated symbol. I am not quite sure what to make of its meaning: perhaps it points towards the how the suffering of these haulers who are pulling a ship with a Russian flag as unnecessary, critique Russia’s late adoption of modern technology? Perhaps instead it is to show a lament to the loss of this kind of hard work which will be replaced by machines? Perhaps it is to show the hope for the next generation, for the young boy who is illuminated? Hopefully we can talk about this in discussion.
I think that the distinction of the young man in this painting could have many meanings, as you pointed out. One difference that I noticed in his facial expression as compared to that of the other barge-pullers is that of confusion and dissent. Although the older and grayer workers look unhappy, their downcast faces make them appear resigned to their fate. The young man appears the most likely to want to remove himself from this situation. Perhaps this imagery is meant to symbolize a hope for revolution in the future?
Along with the young man’s, facial expression, I noticed that his body is postured up toward the sky and his face is tilted toward the horizon. In comparison with the other barge pullers are looking down and their bodies are slumped toward the ground, possibly signifying their submission to the physical gruel of their labor. This comparison of bodily posture, facing the sky versus the ground, again reinforces the symbolism of hope for the future of Russia versus submission to their lower status.
I think looking at the painting as representative of the “transition from physical laborer to modern machine” as you pointed out is extremely interesting, particularly given that I hardly noticed the steamboat in the background of the painting. In addition, I also thought the generational difference in how the light treats its different subjects was perceptive as well—specifically your comments on how it appears the the labor is “degrading his youth”. I also think the use of the Russian flag is complex, which I interpreted as showing how individual peasants/serfs were being focused in the painting as opposed to the elite aspects of Russian culture.
I think that the suffering of barge-pullers was highlighted by the the facial expressions, indicating turmoil and unhappiness. The barge-puller that is looking straight at the viewer of the painting stuck out to me. I think this facial expression is telling that barge-puller feels the Russia is responsible for his suffering in the lower class.
The barge-puller that looks directly at the viewer is the second most distinct expression out of the bunch. I’d echo your sentiment that his glare is a critique on the society and system of serfdom established in Russia, but I also interpreted this expression as a way to make the viewer uncomfortable. If you look at his expression long enough you start to feel u comfortable. This jarring feeling is probably included to further emphasize the immoral and disgusting nature of serfdom.
You provide a very astute analysis, Brennan! I particularly think the mention of the steamboat in the background is integral to this painting. Perhaps the young man is brighter than his fellow serfs because the steamboat will make the work they are doing antiquated and unnecessary in the future. This light serves to provide some optimism for his future and is especially contrasted by the dark figures around him. As the dark haulers represent the arduous work of the time, the bright youth serves to evoke hopefulness of the future for the viewer.
I think that the background for this painting is also an interesting one. Is there any other underlying significance for Repin to choose the Volga river as the setting of this painting, aside from serving as a symbol for Russia?
In addition to Brennan’s analysis, the colors that Repin uses for the background and what he chooses to include should not be overlooked. The bright golden hue from the sun saturates the sand and the people, intensifying the shabbiness and dark features of the barge haulers. The colors of the sky, sun, water, and land evoke an air of lightness and ease that is reflected in the calmness of the scenery. Repin’s attention to color strengthens his commentary on Russia’s first steps to modernizing.
I failed to notice the cross around the young man’s neck- even during our class discussion. It is interesting to me that you interpret this as degrading. Indeed, the placement of the cross in such a context does seem to call into question the power of faith. The fact that the other workers lack such ornamentation implies that they have all lost something like faith. It is possible that the painting is implying that faith is transitory where as suffering is less so. Very interesting ideas.