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Repin began working on the painting in Moscow. [1] A first overall sketch, with the character of the Tsar turned to his right, dates from 1882. The idea of the painting, according to Repin, is linked to his confrontation with the themes of violence, revenge and blood during the political events of 1881; additional sources of inspiration were the music of Nikolai Rimsky-Korsakov and the ...
Ivan Ivanovich was killed by his father in a fit of rage, [5] with the argument ending after the elder Ivan fatally struck his son in the head with his pointed staff. [6] Yelena also suffered a miscarriage within hours of the incident. [4] The event is depicted in the famous painting by Ilya Repin, Ivan the Terrible and His Son Ivan.
This painting, depicting the tsar, his face full of horror, just after he has killed his son with his sceptre in a demented rage. It caused a scandal. It caused a scandal. Some critics saw it as a veiled criticism of Tsar Alexander III , who had brutally suppressed the opposition after a failed assassination attempt.
When Ivan began his sweeps of the surrounding churches, about two to four weeks later, his men set out to finish the job they started before the tsar's arrival. 'Every day he mounted and moved to another monastery, where he indulged his savagery.' His men took money, ransacked cells, tore down bells, destroyed equipment, and slaughtered cattle.
The work of art itself is in the public domain for the following reason: Public domain Public domain false false This work is in the public domain in its country of origin and other countries and areas where the copyright term is the author's life plus 70 years or fewer .
A 37-year-old drunken man grabbed a metal stand and repeatedly hit the painting, shattering its protection glass, seriously damaging the original wooden frame, and tearing the central part of the canvas. Fortunately, the most important details of the work, that is, the heads and hands of the tsar and his son, were unharmed. [32]
The decorations of Tverskaya Street, with velvet banners donning Romanov symbols spanning the boulevard, buildings covered in pennants, flags, and lights 'even more inventive' than those in the capital, garlanded statues of the tsar and a showering of confetti from the people, were 'even more magnificent than in St. Petersburg.' [10] The tsar ...
Eisenstein contemplated several endings for Part III: while the published screenplay ends with the tsar walking triumphantly toward the sea, one ending had the aged tsar contemplating the future of Russia, a second had the tsar dying alone and regretful after his murder of his son, and a third would have had the tsar seeing a prophetic vision ...