“Farewell of Slavianka” by N.M. Bryukhanov: on the history of the creation, existence, and study of the painting

Abstract

In the 20th century, the fine arts of Siberia, previously associated primarily with the renowned historical painter V.I. Surikov, reached an academic pinnacle, and today every Siberian region displays the works of major artists in all types and genres of art. The work of Omsk-based artist Nikolai Mikhailovich Bryukhanov is included in this selection. The existing body of art studies not only enables the evaluation of the artist's achievements, but also facilitates an understanding of the context in which his work was produced. This context was inextricably linked to the development of art in Omsk during the 20th century. The biography and the role of N.M. Bryukhanov in the artistic processes of his time are known, his creative method and individual works are studied. Among the analysed works stands out his famous canvas “Slavic March (Farewell of Slavianka)”, which became a symbol of his artistic search and reflects the spirit of the time. However, despite attempts to describe the painting, the question remains open as to what exactly prompted Brukhanov, at the age of thirty, to work on this work for ten years.  It could have been due to his desire for a deep elaboration of the theme, as well as his desire to create something truly significant and large-scale. This article is dedicated to a comprehensive study of the painting, covering the history of its creation, its journey in the art world and a detailed analysis of its artistic means and meaning. To achieve this goal, the author used historical, biographical, and iconographic methods to reconstruct the context of the painting's appearance and analyse its artistic features in comparison with other works of art. In addition to thematic similarities pertaining to patriotic themes and the portrayal of national achievements, profound plastic parallels are also discerned. Particular emphasis is placed on the contentious subject of the genre of the “Slavic March”, with the notion of “standing up” (or Predstoyanie, Deisis) proposed as the most appropriate definition of this form of patriotic art, exemplifying the willingness to make sacrifices for the sake of the nation and the highest ideals. The study demonstrates how the artist's personal world-view and social and historical realities were informed the creation of the painting. The examination of source material, including written testimonies, memoirs, and documents pertaining to the painting's creation and exhibition, facilitated the reconstruction of its historical trajectory and the contextualisation of its reception. The iconographic method focuses on a detailed analysis of the composition, colour, use of line and rhythm, as well as the symbolic meanings embedded by the artist in the painting.  It shows how the artist sought to achieve an optimal synthesis between form and content, striving to convey intricate emotions and ideas. The oeuvre of N.M. Bryukhanov retains its contemporary relevance, and an investigation of his life and work facilitates a more profound comprehension not only of his artistic legacy but also of the social and cultural processes that unfolded in Omsk and Russia during the 20th and early 21st centuries.