Ilja Jefimovitj Repin

”SLENDER MUSE IN WHITE”.
“PORTRAIT OF BEATRICE LEVI” BY ILYA REPIN
This painting by Ilya E. Repin, the "Portrait of Beatrice Levi", is a unique work of Repin that has never been exhibited, displayed, or been out on the market before. It has only been shown as a black and white photo in a basic monographs devoted to Repin (“Repin. Artistic Heritage” M., L., 1948).
The portrait is a triumphant romantic celebration to life itself and could be considered as one of the most beautiful portraits made by Repin.

In preparation for this publication a vast material has been discovered, for example photos, letters, manuscripts etc, from Repin and Vasili Levi (husband of the sitter), not previously known to museums or art historians .
It has shown to be a historic and art historic treasure in the description of the period after the Russian revolution of Ilya Repins life and day to day problems, as well as his philosophy of art and painting in his own explicit words.
Repin became unconditionally recognized as a master of portrait since his very first performances within the genre. It is by the means of portrait painting that he realized his numerous artistic traits: insightfulness and sensibility, power of observation and excitement, genuine deep psychologism and volcanic, explosive temperament.
Repin was fond of the portrait genre throughout his whole life. His last works reflect both the antagonisms and bewilderment of the epoch that was falling apart in front of his eyes, as well as his own inner struggles.
The “Portrait of Beatrice Levi” created in the summer 1918 is a magnificent example of Repin’s artistic genius and skill that were neither influenced by his aging nor by the tragic transformations of the surrounding world.
“Portrait of Beatrice Levi” is an outstanding example of the artistic principles and stylistics, the expressiveness and appeal, of which were revealed to Repin only during the last years of his life.
The special atmosphere that Repin built up and managed to keep alive among the circle of friends and fellows despite of everyday troubles and turmoil also contributed in many ways to that renewal of creativity, passion and truly youthful enthusiasm which are perceivable in the “Portrait of Beatrice Levi".
The atmosphere at Repins estate continued to remain unchanged even after the historical events of 1917 (the October Revolution, the beginning of the Civil War). His home at “Penaty” turned out to be isolated from the big-city world of St. Petersburg and became a kind of the old culture retreat.
The mere existence of such a “shelter” for writers, artists, musicians symbolized a constant resistance to the surrounding reality, where the common unsettledness, devastation, irrevocable loss of traditional values, economic insecurity were becoming more clear and rough with every day that passed.
On the other hand, during those post-revolution years Repin had to take care of his family – his daughters, son and grandchildren, who were still unable to live on their own, still dependent on the inviolable reputation of their father and his grand name.
Neither Ilya Repin’s family life nor everyday routines were idyllic, and many of the closest ones realized that. In fact they were often on the brink of starvation and poverty.

Vasili Filippovich Levi (1878-1954) was among those who knew and understood Repin very well. He was aware of Repin’s significance for the national art as well as the complexity of life circumstances where the aging artist bound by the responsibility for his loved ones found himself.
Levi confessed that he worshiped Repin since he was young and even before he made his acquaintance. He admired not only Repin’s artistic genius, which was unquestionable, but also political views of the artist, who defended justice, honor and human dignity.

They first met in the spring 1918 when Levi’s family finally settled down in the town of Terijoki (today Zelenogorsk) after having endured the dramatic Revolution days at their summer place in Finland. It was not far from Repin’s Kuokkala so Levi went for a visit.
Since the very first moments Repin completely charmed his new acquaintance, mostly by his sincere interest to Levi’s artworks. Soon Repin returned the visit to Vasili and Beatrice Levi.
Repin was utterly pleased to socialize with a trouble-free and relatively wealthy family (for being at those hard and miserable times).
Vasili Levi, on the other hand, experienced a pure delight on that first evening spent in the company of the artist, who had been his ideal for so many years.

That was the beginning of their close relationship which lasted for eleven years.
”Soon after meeting Repin in 1918 I found out that he truly was in need”, wrote Levi in his memoirs.
”I felt very flattered when he freely and easily told me about his situation and asked to borrow a small sum of money, around 200 marks, I believe. From now on, me and my wife offered him loans by ourselves.... Ilya Efimovich suggested painting a portrait of my wife in order to pay the debt.”
The one who was most enthusiastic about “The Portrait of Beatrice Levi” was her husband Vasili Filippovich, Repin’s passionate and devoted admirer.
Repin was apparently inspired by both the opportunity to portrait a young attractive lady and the friendship with the Levi family; another possible reason was economical.
Besides, the interaction with a beginner artist whose admiration and even adoration that Repin must have noticed but whose art preferences undoubtedly belonged to the new age should have aroused a sort of competitive impetus in him, a willingness to prove that he, too, masters the stylistics of modernism with its concepts of color, lines and spatial solutions.
It represents a new style of Repin and makes this portrait outstanding in Repins production.

Repin was known to fall in love with his objects especially the younger female ones, and this shines through in this portrait, it feels that it is painted by someone who is in love with her.
The portrait’s space immediately acquired the true monumentality and grandeur, accentuating the delicate beauty of the young and charming woman. Repin combines a representative portrait entourage (here reproduced only indirectly, as a ”quote”) with the utterly vital, ingenious image of the model.

Repin managed to create a surprisingly cheerful, joyous image which is even more impressive if we look at the date written down beneath to the left: 1918.
The portrait sounds like a symbol of beauty and femininity triumphing over the terrible disruptions of the surrounding world swept by a fratricidal war!