The Hidden Tragedy Behind Kramskoy's Portrait of an Unknown Woman

"Portrait of an Unknown Woman," painted by Ivan Kramskoy in 1883, has become an iconic image in Russian culture, recognized by many who grew up in the Soviet Union. The painting features a solitary woman in an open carriage against a misty St Petersburg backdrop, dressed in fashionable attire that was deemed inappropriate for a woman of her status. Critics of the time labeled her as “a cocotte in a carriage” and “a costly camellia,” reflecting societal attitudes towards women who defied conventions. Initially, Kramskoy hoped to have the portrait acquired by Pavel Tretyakov, the founder of the Tretyakov Gallery, but this aspiration was not realized.

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The painting eventually found its way into the hands of Pavel Kharitonenko, a Ukrainian sugar magnate, before being nationalized after the Russian Revolution. The portrait entered the Tretyakov Gallery, contrary to Tretyakov's wishes, and became a symbol of cultural life in the Soviet Union, where it was reproduced in countless forms, from prints to chocolate boxes. Its allure lay in its contrast to the stark realities of Soviet life, making it a beloved piece in many Soviet homes.

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In contemporary cinema, the portrait reappears in films by Norwegian director Joachim Trier. In "Sentimental Value," it serves as a poignant reminder of the past, linking the narrative of a troubled family across generations. The portrait featured in the film is not a reproduction but a loose copy created by Hedvig Broch, a friend of the film's production designer, Jørgen Stangebye Larsen. Broch, who had long aspired to be an artist, returned to painting at the age of 50, creating a version of the portrait that imbued the original's mystery with a sense of melancholy.

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Broch's life was marked by personal sacrifices, including choosing marriage over her artistic ambitions. Tragically, she later took her own life, paralleling the themes of loss and memory explored in Trier's films. Larsen, unaware of Broch's history with the portrait, noted that the use of her painting in "Sentimental Value" was unintentional, highlighting the complex interplay between art and life.

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Joachim Trier remarked on the unintentional connection between Broch's portrait and the themes of his films, quoting Goethe’s Faust to express the unpredictable nature of artistic intention. He acknowledged the depth of memory that art can evoke, even when not consciously intended.

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Despite its popularity, the portrait's initial rejection by Tretyakov reflects a conservative cultural stance that resisted the inclusion of works deemed too provocative or unconventional. Critics argue that the painting's journey from private ownership to a national gallery exemplifies the broader tensions between individual artistic expression and state control in the Soviet era.

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While the portrait's journey is well-documented, discrepancies exist regarding its initial reception and the motivations behind its acquisition by the Tretyakov Gallery. Some sources suggest that Tretyakov's conservative background influenced his reluctance to display works that challenged societal norms.

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• “you work out what their intention is and it breaks the spell” — Joachim Trier

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The story of "Portrait of an Unknown Woman" intertwines art, memory, and tragedy, reflecting the complexities of cultural identity in Russia and beyond.

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