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File:Ilya Repin Unexpected visitors.jpg

From Wikipedia, the free encyclopedia


Ilya Repin: They Did Not Expect Him  wikidata:Q11791202 
creator QS:P170,Q172911
Ilya Repin: They Did Not Expect Him
English: Unexpected visitors
Русский: Не ждали
Object type painting
English: Shows the unexpected homecoming of a Russian revolutionary from a forced settlement in Siberia. [Machine translation follows, with a few obvious or suggested fixes.] The idea of ​​the picture arose on the rise connected with the completion of the "Holy procession". Here everything is seen right in front of the viewer. The author is clearly present somewhere near, observing, listening, arguing. We find him on the right in the foreground by a characteristic head, familiar from [Repin's?] self-portraits of these years, and the equally characteristic slanting of the shoulders. It can be seen that the picture was [painted over many times,] the role of each character clarified, [their] placement at the intersection of views and light rays; a free space [created or preserved] in front of them. Repin worked on the canvas twice as much as [he did] on the "Cross procession", he [felt or worked]? his way to the "wandering", [elusive] plot. "Did not wait" was preceded by a trip to Spain, the copying of Velazquez in the [Museo] Prado halls. Repin contrasted "cabinet theories" and "The Truth of Life." This prompted him [to blend?] the proportions of speculative and everyday, allowed [him] to combine the intellectual space of the plan with the interior of the house in Martyshkene, where he realized it.
It is impossible to imagine that in the clear light of a quiet day, this strange phantom man appears timidly, uncertainly, that he has just walked along the sun-drenched grass greening through the balcony glass, that he will remain in this room where everyone except him has a place. There is a sad story about the returning, and not waiting, which is so difficult to understand each other.
Русский: Замысел картины возник на подъёме, связанном с завершением «Крестного хода». Здесь всё взято в упор; автор явно присутствует где-то рядом, наблюдает, слушает, спорит. Мы находим его справа на переднем плане по характерной голове, знакомой по автопортретам этих лет, и столь же характерный скос плеч. Видно, что картина многократно переписывалась, уточнялась роль каждого персонажа, размещением на пересечении взглядов и световых лучей, свободным пространством перед ними. Репин работал над холстом вдвое больше, чем над «Крестным ходом», на ощупь он подбирался к «бродячему» сюжету. «Не ждали» предшествовала поездка по Испании, копирование Веласкеса в залах Прадо. Репин противопостовлял «кабинетные теории» и «Правду жизни». Это подсказало ему пропорции умозрительного и бытового, позволило совместить интеллектуальное пространство замысла с интерьером дома в Мартышкене, где он его реализовал.
Невозможно представить, что в ясном свете тихого дня робко, неуверенно появляется этот странный человек-фантом, что он только что шёл по залитой солнцем траве, зеленеющей сквозь балконное стекло, что он останется в этой комнате, где всем, кроме него, есть место. Возникает грустная новелла о возвращающихся, и не ждавших, которым так трудно понять друг друга.
Date between 1884 and 1888
date QS:P571,+1884-00-00T00:00:00Z/8,P1319,+1884-00-00T00:00:00Z/9,P1326,+1888-00-00T00:00:00Z/9
Medium canvas and oil
Dimensions Height: 160.5 cm (63.1 ″); Width: 167.5 cm (65.9 ″)
dimensions QS:P2048,+160.5U174728;P2049,+167.5U174728
institution QS:P195,Q183334
References described at URL:


Public domain

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This work is in the public domain in the United States because it was published (or registered with the U.S. Copyright Office) before January 1, 1924.

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