{"id":423,"date":"2019-03-29T16:40:14","date_gmt":"2019-03-29T15:40:14","guid":{"rendered":"https:\/\/otulinablog.pl\/?p=423"},"modified":"2019-03-29T16:40:14","modified_gmt":"2019-03-29T15:40:14","slug":"ilja-riepin-2","status":"publish","type":"post","link":"https:\/\/otulinaosztuce.pl\/?p=423&lang=en","title":{"rendered":"Ilja Riepin"},"content":{"rendered":"\n<p class=\"has-drop-cap has-medium-font-size\">In times when there was no television and cinema, the paintings had the power of visual storytelling. Their overtones could be diverse &#8211; they could be moralizing, instructive, playful or even grotesque. One thing was unchangeable &#8211; one glance was to make the viewer be drawn into the story. Ilja Riepin was undoubtedly one of the masters of creating heart-catching stories. The power of his influence is demonstrated by this picture, composed as a frame from the culminating moment in the costume drama. Over a hundred years, this image was attacked twice &#8211; in 1913 and 2018 &#8211; in each case the attacker tried to destroy the part with the characters of the tsar and his son. Today the work is still undergoing conservation, but other Riepin&#8217;s paintings can be seen until mid-August at the monographic exhibition in Moscow, and later in 2020 in Paris and 2021 in Helsinki.<\/p>\n\n\n\n<div class=\"wp-block-image\"><figure class=\"aligncenter\"><a href=\"https:\/\/en.wikipedia.org\/wiki\/Ivan_the_Terrible_and_His_Son_Ivan#\/media\/File:Iv%C3%A1n_el_Terrible_y_su_hijo,_por_Ili%C3%A1_Repin.jpg\" target=\"_blank\" rel=\"noreferrer noopener\"><img decoding=\"async\" src=\"https:\/\/otulinablog.pl\/wp-content\/uploads\/2019\/03\/Iv\u00e1n_el_Terrible_y_su_hijo_por_Ili\u00e1_Repin-1024x804.jpg\" alt=\"\" class=\"wp-image-271\"\/><\/a><figcaption>Ilja Riepin, Tsar Ivan the Terrible and His Son Ivan, 1885, Galeria Tretiakowska, Moscow<\/figcaption><\/figure><\/div>\n<p>Views: 1<\/p>","protected":false},"excerpt":{"rendered":"<p>In times when there was no television and cinema, the paintings had the power of visual storytelling. Their overtones could be diverse &#8211; they could be moralizing, instructive, playful or even grotesque. One thing was unchangeable &#8211; one glance was to make the viewer be drawn into the story. Ilja Riepin was undoubtedly one of&#8230;<\/p>\n","protected":false},"author":1,"featured_media":272,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[],"tags":[],"class_list":["post-423","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v26.4 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Ilja Riepin - otulina o sztuce<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/otulinaosztuce.pl\/?p=423&lang=en\" \/>\n<meta property=\"og:locale\" content=\"pl_PL\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Ilja Riepin - otulina o sztuce\" \/>\n<meta property=\"og:description\" content=\"In times when there was no television and cinema, the paintings had the power of visual storytelling. Their overtones could be diverse &#8211; they could be moralizing, instructive, playful or even grotesque. One thing was unchangeable &#8211; one glance was to make the viewer be drawn into the story. 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