I︠A︡ V Bruk, Ilʹi︠a︡ Efimovich Repin, 1844-1930: k 150-letii︠u︡ so dni︠a︡ rozhdenii︠a︡, (Moscow: Изд-во \"Красная Площадь\", 1994).
","citation":"I︠A︡ V Bruk, Ilʹi︠a︡ Efimovich Repin, 1844-1930: k 150-letii︠u︡ so dni︠a︡ rozhdenii︠a︡, (Moscow: Изд-во \"Красная Площадь\", 1994).
, p. 282, no. 424","date":1994,"id":4926,"uri":"https://search.worldcat.org/title/43999037"},{"boilertext":"Princeton University Art Museum: Handbook of the Collections (Princeton, NJ: Princeton University Art Museum, 2013)","citation":"Princeton University Art Museum: Handbook of the Collections (Princeton, NJ: Princeton University Art Museum, 2013), p. 221","date":2013,"id":1994,"uri":"https://search.worldcat.org/title/865020505"},{"boilertext":"Reflections of the passion: selected works from the Princeton University Art Museum: March 9-June 9, 2002, (New York: Princeton University Art Museum, 2002).","citation":"Reflections of the passion: selected works from the Princeton University Art Museum: March 9-June 9, 2002, (New York: Princeton University Art Museum, 2002)., cat. no. 21","date":2002,"id":3745,"uri":"https://search.worldcat.org/title/82053629"},{"boilertext":"\"Acquisitions of the Art Museum 1979,\" Record of the Art Museum, Princeton University 39, no. 1/2 (1980): p. 40-63.","citation":"\"Acquisitions of the Art Museum 1979,\" Record of the Art Museum, Princeton University 39, no. 1/2 (1980): p. 40-63., p. 40; p. 43 (illus.)","date":1980,"id":3367,"uri":"https://www.jstor.org/stable/3774628"},{"boilertext":"Ilia Repin and Kornei Chukovski, Elena Carevna Cukovskaja, ed., Perepiska 1906-1929, (Moscow: Novoe Literaturnoe Obozrenie, 2006).","citation":"Ilia Repin and Kornei Chukovski, Elena Carevna Cukovskaja, ed., Perepiska 1906-1929, (Moscow: Novoe Literaturnoe Obozrenie, 2006)., p. 190, 192, 198, 200, 210, 213, 216, 219, 222, 224, 225, 237, 240, 272;\r\n\r\np. 329 (index)\r\n\r\nillus.: third to last color plate\r\n\r\nNew Color Transparencies, three-month rental (former record refID 208)","date":2006,"id":440,"uri":"https://search.worldcat.org/title/255741339"},{"boilertext":"David Jackson, \"The Golgotha of Ilya Repin in Context,\" Record of the Art Museum, Princeton University 50, no. 1 (1991): p. 2–15.","citation":"David Jackson, \"The Golgotha of Ilya Repin in Context,\" Record of the Art Museum, Princeton University 50, no. 1 (1991): p. 2–15., p. 2, fig. 1","date":1991,"id":3080,"uri":"https://www.jstor.org/stable/3774742"},{"boilertext":"Vl. V. Sedov, and A. P. Salienko. Russkoe iskusstvo. sbornik stateĭ II, II. 2020.","citation":"Vl. V. Sedov, and A. P. Salienko. Russkoe iskusstvo. sbornik stateĭ II, II. 2020., pp.119-130","date":2020,"id":9810,"uri":"https://search.worldcat.org/title/1146059855"},{"boilertext":"Russian Art: 28 November 2011, (London: Christie, Manson & Woods, 2011).","citation":"Russian Art: 28 November 2011, (London: Christie, Manson & Woods, 2011).","date":2011,"id":1481,"uri":"https://search.worldcat.org/title/844971008"},{"boilertext":"Princeton University Art Museum: Handbook of the Collection (New Haven, CT: Yale University Press, 2007)","citation":"Princeton University Art Museum: Handbook of the Collection (New Haven, CT: Yale University Press, 2007), p. 212 (illus.)","date":2007,"id":474,"uri":"https://search.worldcat.org/title/191864564"},{"boilertext":"Allen Rosenbaum and Francis F. Jones, Selections from The Art Museum, Princeton University, (Princeton, NJ: The Art Museum, Princeton University, 1986)","citation":"Allen Rosenbaum and Francis F. Jones, Selections from The Art Museum, Princeton University, (Princeton, NJ: The Art Museum, Princeton University, 1986), p. 106 (illus.)","date":1986,"id":1899,"uri":"https://search.worldcat.org/title/14244748"}],"nowebuse":"False","periods":[],"department":"European Painting and Sculpture ","attribute_groups":[{"id":2199321,"term":"European Art","termtype":"Collecting Area"}],"daterange":"A.D. 1900-1945","dateend":1922,"depicted":[],"titles":[{"title":"Golgotha","titletype":"Primary Title","displayorder":1}],"hasimage":"true","creditlinerepro":"","objectnumber":"y1979-59","inscribed":null,"texts":[{"texttype":"Online","textpurpose":"Provenance","textentryhtml":"Purchased in Russia in 1926 by Christian Aall's father; by descent to Christian Aall; 1979 gift to Princeton University Art Museum. ","remarks":null},{"texttype":"Online","textpurpose":"Handbook Entry","textentryhtml":"\r\nExecuted with apparent disregard for technical finesse, Repin’s Golgotha offers a starkly unconventional interpretation of familiar subject matter. It is a Crucifixion without Christ, whose body has already been removed from the place of execution, leaving yawning emptiness at the center of the painting. Two dead thieves remain, tied to their crosses. A third cross rests on the ground, its nails, its crossbar, and the surrounding area saturated with Christ’s blood. With brutal realism, Repin depicts a pack of carrion dogs licking the blood; one, positioned at the foot of the empty cross, looks out of the painting as if in response to the viewer’s presence.\r\nThe desolate feeling of emptiness created by Christ’s absence is countered by a pinpoint of light in what appears to be his tomb in the background, outside the city wall. While working on the painting, Repin was engrossed with the events surrounding Christ’s resurrection. Indeed, Christ’s absence from Golgotha might be seen as presaging the moment of resurrection, a subject Repin depicted the following year in his Morning of the Resurrection.\r\nThe artist’s reputation as a leading figure in Russia’s powerful Realist movement had been established in the 1870s by his painting Bargehaulers on the Volga (State Russian Museum, St. Petersburg). When he painted Golgotha fifty years later, in the wake of World War I and the Russian Revolution, separated from friends and associates in Russia by a redrawn border with Finland, the artist was beset by anxiety for his homeland and by physical handicaps that included the atrophy of his right hand. The difficulty and expense of obtaining canvas for a large-scale work like Golgotha prompted him to use ordinary linoleum (reversed to expose its burlap backing) as a surface for this painting.\r\nWhile never primarily a religious painter, Repin renewed his allegiance to the Russian Orthodox Church at this time. Religious subject matter, not previously of major consequence in his work, presented itself as a vehicle for the feelings of hope and despair called forth by contemporary events. ","remarks":null}],"datebegin":1921,"sortnumber":"1979 59y","published_date":"2026-02-11 10:29:40.199325","objectid":32455,"dimensions":"214 x 176 cm (84 1/4 x 69 5/16 in.)\r\nframe: 234 × 197.6 × 6.3 cm (92 1/8 × 77 13/16 × 2 1/2 in.)","on_view":false}