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Ilya Repin. The Reply of the Zaporozhian Cossacks to Sultan Mahmoud IV. The description of a picture

Ilya Repin. The Reply of the Zaporozhian Cossacks to Sultan Mahmoud IV. The description of a picture


 Ilya Repin. The Reply of the Zaporozhian Cossacks to Sultan Mahmoud IV. The description of a picture  Masterpieces of Russian painting

Ilya Repin. The Reply of the Zaporozhian Cossacks to Sultan Mahmoud IV. The description of a picture Masterpieces of Russian painting


Русские художники. Russian Artists. Превосходное качество репродукций. Excellent quality of reproductions. Русская живопись. Russian painting.
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 Ilya Repin. The Reply of the Zaporozhian Cossacks to Sultan Mahmoud IV. The description of a picture  Masterpieces of Russian painting

 
                                        Tanais Gallery

 Илья Репин. 
 Запорожцы пишут ответ 
 султану Мохаммеду IV. 
 Ilya Repin. 
The Reply of the Zaporozhian 
 Cossacks to Sultan Mahmoud IV.




The Reply of the Zaporozhian Cossacks to Sultan Mahmoud IV.
1880-1891. Oil on canvas. 203 x 358. The State Russian Museum, St. Petersburg, Russia.


Repin rarely painted historical paintings. The most popular in this genre is Ivan the Terrible and His Son Ivan on November 16, 1581 and The Reply of the Zaporozhian Cossacks to Sultan Mahmoud IV.

One of Repin's most complex paintings, The Reply of the Zaporozhian Cossacks to Sultan Mahmoud IV. occupied many years of his life. He conceived this painting as a study in laughter, but also believed that it involved the ideals of liberty, equality, and fraternity; in short, Cossack republicanism, in this particular case, Ukrainian Cossack republicanism. Begun in the late 1870s, it was only completed in 1891, and, ironically, was immediately purchased by the Tsar. The Tsar paid 35,000 rubles for the painting, an enormous amount for that time.

The faithfully rendered spirit of the Zaporozhian freemen, who, according to the artist, had a particularly strong sense of "liberty, equality and fraternity" undoubtedly gives the picture its power. The contemporaries saw it as a symbol of the Russian people throwing off their chains.


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