In Tolstoy’s “Three Deaths,” the parallels used between nature and human life illuminate some details in the story. Reading through the story, it is first a bit unclear as to what the three deaths are, as only two humans die in the story. But, the personification used in the fourth chapter of the story to describe the cutting down of the tree makes it clear that this tree is the third death. As Seryoha cuts down the tree, it “trembled with all its body, leaned over, and quickly straightened itself, shuddering with fear on its base” (Tolstoy 247). The word “trembled,” “leaned,” “straightened,” and “shuddering” are all active verbs typically used to describe human behavior. So, their use reckons the reader back to the human deaths in the story. The other trees in the forest are also personified in their reaction to this “death”; Tolstoy described that they “more joyously than ever, extended their motionless branches over the new space that had been made in their midst” (Tolstoy 247). In chopping down this tree, Seryoha makes a cross for Khveodor’s grave; this “joy” of the fellow trees mirrors the reaction of Khveodor’s acquaintances to his impending death. Seryoha benefits off of the fact that Khveodor does not need his new boots anymore because he is dying and Nastasya benefits from the fact that Khveodor is no longer taking up space in the oven. I was disturbed by the eagerness which people took advantage of Khveodor’s dying condition when I read this story; perhaps by comparing his death with that of the tree, Tolstoy emphasizes the natural necessity of death? I do not quite know what to make of this parallel.
Category Archives: Unit 8: Russian Revival, Social Critique
Religious iconography and the significance of darkness in tamara and the demon
I found Makovsky’s Tamara and the Demon to be a fascinating piece of art that echoed the Academy’s heavy emphasis on religious iconography and used color to send a powerful message of virtue over evil. At first glance, when looking at the painting, the eyes are drawn to the faces of Tamara and the Demon because the painting as a whole is rather dark, and their pale faces catch the viewer’s attention as a contrast to the darkness. This darkness is meant to feel enveloping to mirror the Demon’s power and capability of destruction in Lermontov’s poem Demon. The darkness is given a heavy presence in the way it surrounds Tamara completely. Her figure is shown as pure and holy with her white dress, meant to pay homage to the character’s empathy in Lermontov’s poem, who sees a soul in pain rather than a tyrannous demon. This purity acts as a rebellion against evil, which ties to the poem, where Tamara is so virtuous that she takes pity on a demon, wishing to soothe its pain. This is also expressed in the painting, as the white symbolizing purity shines in the darkness.
Also catching my eye is a chalice filled with burning candles above Tamara, which illuminates a slate that I believe portrays Mary holding a baby Jesus, drawing the eye to her in the sea of darkness. This addition adds to Tamara’s image as a holy woman, but also connects the demon’s embrace of Tamara to common religious iconography. With the demon holding a limp and sullen Tamara, the execution of the painting is heavily reminiscent of a Pietà, where Mary holds the body of Jesus. Having been trained in the Academy, I’m sure Makovsky would have been aware of a Pietà, and with the image of Mother Mary in the background, I’m confident that the imagery of Tamara in the demon’s arms is meant to mimic the artistic staple that is the Pietà.
I’m not usually very astute when it comes to deep artistic analysis, but I am quite confident in my assertions regarding Makovsky’s Tamara and the Demon. The parallels to Lermontov’s poem and Makovsky’s training in the Academy are on full display in this work, and the use of dark space to highlight lighter areas send a powerful message of virtue shining in darkness.
Perov’s Immersive Style
In examining the works of Perov, two features of style in particular become apparent as means of expressing hardship and solace in tangible terms. First of all, Perov often incorporates background hues into foreground elements beyond the influence of lighting alone, creating a translucent effect. The man in The Troika (1866) is a prime example; the effect is made more powerful by the gray streaks extending over the man’s legs. Similarly, the bound and groveling men in Pugachev’s Judgement (1879) exhibit this feature in how their attire blends with the ground. Superficially, both instances of the technique serve to emphasize the eponymous subjects of the works. I would go further to claim that they add an element of otherworldly torment to the works. While the Russian and English traditions surrounding ghosts surely diverge, the idea that translucent humans (and other organic forms) are uncanny or distort our understanding of the passage of time within a work seems a cultural invariant.
Perov inverts his technique to the opposite effect in The First Christians of Kiev (1880). Rather than rendering objects incorporeal, Perov includes hints of the hue and texture of the icon cover in the night sky to create the impression of cover for the worshippers. This gives a sense of supernatural protection from the elements. This contrast also features in the chronology within his paintings’ narratives. While the aforementioned works show a man receding as if having passed the children and people groveling as though condemned, The First Christians of Kiev suggests that the prayer began prior to the comforting atmosphere.
The other defining feature is the use of composition in conveying hostility and clemency. Both The Troika and Going to Burial (1865) achieve the former effect through inclined landscapes made more grueling by diagonal, cumbersome drawn sleds linking the subjects to their surroundings. In addition, the child subjects huddle amongst themselves (or a coffin) against an uncaring background. Again, The First Christians of Kiev contrasts with his grimmer works in the use of the blanketing sky and layers of huddled adults to create a sense of safety. While the background terrain features steps, they are directed so as to suggest that the worshippers descended them to their point of congregation.
Although Perov rejects the romanticization of peasant labor, his portrayal of early Christian worship is idyllic. As with his emphasis on hardship and solace, this thematic contradiction seems to resolve itself as a reflection of Perov’s goal to reflect (what he would consider to be) true ideals and dreaded realities.
The Barge Haulers
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.