Russia and the Arts: The Age of Tolstoy and Tchaikovsky, exhibition review

This gathering of famous portraits of Russian cultural figures is a test of portraiture’s powers. Among the works lent by Moscow’s State Tretyakov Gallery are depictions of writers and composers of international renown. But unless you have a deep knowledge of Russian culture, there will be plenty you haven’t heard of.

It’s a test, because, like the works in the National Portrait Gallery’s own collection, there are three ways in which these portraits can appeal: in the spark of recognition of significant public person; as a compelling representation of humanity; or as a powerful painterly object. Too few works here make a big impact. Take two depictions of literary figures about whom I know little: Nikolai Ge’s portrait of Alexander Herzen and Ilya Repin’s depiction of Ivan Turgenev, both perfectly adequate technically but essentially plodding portraits of bearded men. Likewise the portrait of Tretyakov, the collector who gave his name to the Moscow gallery.

There are moments of brilliance, however: Vasily Perov’s moving portrait of Dostoevsky captures the troubled writer deep in thought, a figure of light emerging from gloom. The composer Modest Mussorgsky, another man of whom I know little, is captured by Repin close to death from alcoholism, a picture of pain and sadness yet imbued with a vibrant spirit and a painterly immediacy.

The later 19th century saw an artistic revolution in France with the emergence of Impressionism. In Russia, a debate raged about engaging with French art versus continuing Russian realist traditions. But in the painting of Tchaikovsky by Nikolai Kuznetsov, the fusion of French influence and Russian tradition is powerful. It ticks all those portraiture boxes: an intriguing depiction of a reluctant, conflicted popular figure, emotionally rich, captured in vivid, lively paint.

Until June 26, National Portrait Gallery (020 7306 0055, npg.org.uk)

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