Nikolai Semenovich Samokish (1860–1944) stands as a significant figure in the annals of late 19th and early 20th-century Russian and Ukrainian art. Renowned primarily as a battle painter (a батальный живописец), an illustrator of remarkable skill, and a sensitive animalier, particularly of horses, Samokish carved a unique niche for himself. His prolific career spanned the final decades of the Russian Empire, the turmoil of revolution and civil war, and the early Soviet period, leaving behind a rich visual legacy that documents conflict, celebrates heroism, and captures the spirit of his time. Born in Nizhyn, in the Chernigov Governorate of the Russian Empire (present-day Ukraine), his heritage, reportedly with Crimean Tatar roots, perhaps subtly informed his diverse cultural sensitivities.
Early Life and Formative Artistic Education
Nikolai Samokish was born on October 25 (November 6, New Style), 1860, in the town of Nizhyn. His early inclination towards art led him to seek formal training. His journey into the hallowed halls of the Imperial Academy of Arts in Saint Petersburg was not initially straightforward. According to some accounts, he faced initial setbacks in gaining admission. However, his talent was recognized, and with the support of Professor Bogdan Pavlovich Villevalde, a distinguished battle painter himself, Samokish was admitted as an external student to Villevalde's studio in 1878, and formally enrolled in 1879.
At the Imperial Academy, a bastion of academic art in Russia, Samokish was immersed in a rigorous curriculum that emphasized drawing, composition, and the study of historical and mythological subjects. He studied under prominent masters of the era. Besides Villevalde, who specialized in military scenes and undoubtedly influenced Samokish's future specialization, he also learned from Pavel Petrovich Chistyakov, a highly influential teacher known for his pedagogical system that shaped many leading Russian artists, including Ilya Repin, Vasily Surikov, and Valentin Serov. Other instructors who likely contributed to his development included Mikhail Klodt, known for his landscapes, and Valery Jacobi, a historical painter. This period, from 1879 to 1885, was crucial in honing his technical skills and artistic vision.
His talent was soon recognized. In 1881, he received his first silver medal. Subsequent years saw further accolades: another silver medal in 1882, a small gold medal in 1883 for his painting "The Landowners' Return from the Fair," and in 1884, another small gold medal for "An Episode from the Battle of Maloyaroslavets." The culmination of his academic success came in 1885 with the award of a large gold medal for his graduation piece, "The Russian Cavalry Returns After an Attack on the Enemy at Austerlitz in 1805." This prestigious award also granted him the title of First-Class Artist and a fellowship for travel abroad to further his studies.
Parisian Sojourn and International Exposure
Following his graduation, Samokish embarked on the customary journey for promising Russian artists: a period of study and immersion in the vibrant art world of Paris. From 1886 to 1889, he refined his skills, likely frequenting museums like the Louvre and absorbing the diverse artistic currents then active in the French capital, from lingering academic traditions to the rising tide of Impressionism and Post-Impressionism. While in Paris, he sought out further specialized training in military art. He worked in the private studio of Édouard Detaille, one of France's most celebrated military painters, known for his meticulous detail and dramatic depictions of French military history, particularly the Franco-Prussian War. Detaille's influence, combined with that of his Russian mentor Villevalde, solidified Samokish's commitment to the battle genre.
This period abroad was not solely confined to Paris. He also traveled to other European art centers, broadening his horizons and observing the works of Old Masters and contemporaries alike. This international exposure was invaluable, allowing him to compare different national schools of painting and to refine his own unique approach to art. His time in Paris, under the tutelage of a master like Detaille, who himself was a student of the great Jean-Louis-Ernest Meissonier, connected Samokish to a distinguished lineage of European military painters.
The Ascendant Battle Painter
Upon his return to Russia, Samokish quickly established himself as a leading figure in military art. His works were characterized by their dynamic compositions, historical accuracy, and a keen understanding of military life, particularly the crucial role of cavalry and the depiction of horses in motion. He was not merely a studio painter; Samokish often traveled to military maneuvers and even to active fronts to gather firsthand experience and sketches, a practice also famously employed by Vasily Vereshchagin, another titan of Russian battle painting.
His reputation grew with significant commissions. He was tasked with creating works for the Tiflis (Tbilisi) Military History Museum, depicting scenes from past Caucasian wars. These paintings, such as "The Battle of Avliyar" and "The Battle on the Iori River," showcased his ability to handle complex multi-figure compositions and dramatic historical narratives. His focus was often on the heroism and endurance of the common soldier, as well as the strategic brilliance of commanders.
The Russo-Japanese War (1904-1905) provided Samokish with direct experience of modern warfare. He served as a war artist-correspondent for the popular illustrated magazine "Niva" (Cornfield), sending back sketches and paintings from the front lines in Manchuria. These works, imbued with a sense of immediacy and realism, captured the grim realities of the conflict, the bravery of the soldiers, and the harsh conditions they faced. His experiences during this war profoundly impacted his art, lending it an authenticity that resonated with the public. One notable series of works stemmed from this period, including illustrations for the album "War 1904-1905: From a Diary."
Master of Equine Art
A defining characteristic of Samokish's oeuvre is his exceptional ability to depict horses. Whether in the heat of battle, on parade, or in more tranquil settings, his horses are rendered with anatomical precision, a sense of vibrant energy, and individual character. He understood the horse not just as an instrument of war or transport but as a noble and sentient creature. This empathy is evident in his paintings, where the horses often share the emotional intensity of their human riders.
His skill in this area was unparalleled among many of his contemporaries. Works like "Mchaщаяся тройка" (Rushing Troika, 1918) demonstrate his mastery of capturing movement and the raw power of these animals. His battle scenes are particularly notable for the dynamic portrayal of cavalry charges, where the thundering hooves and straining muscles of the horses are almost palpable. This focus on equine subjects also extended to his illustrations and standalone animal studies. He can be compared to other great animaliers in Russian art, though his focus was predominantly on horses within a military or historical context, unlike, for example, the wildlife paintings of Konstantin Savitsky or the more pastoral animal scenes of some Peredvizhniki artists.
Prolific Illustrator and Graphic Artist
Beyond his large-scale canvases, Samokish was an incredibly prolific and sought-after illustrator. His graphic works graced the pages of numerous books and magazines, bringing historical events and literary narratives to life. His illustrations were known for their meticulous detail, dramatic flair, and historical accuracy, making complex subjects accessible and engaging for a wide audience.
He contributed illustrations to landmark publications such as Nikolai Kutepov's multi-volume "Imperial Hunting in Russia," a lavishly produced work detailing the history of royal hunts. His drawings for this project showcased his skill in depicting historical costumes, weaponry, and, of course, horses and hunting scenes. He also illustrated editions of Nikolai Gogol's "Dead Souls," demonstrating his versatility in tackling literary classics.
His interest in Ukrainian culture is evident in his illustrative work as well. He produced albums of Ukrainian ornamentation, such as "Motivy Ukrainskago Ornamenta" (Motifs of Ukrainian Ornament), often in collaboration with his wife, Elena Petrovna Sudkovskaya. These works played a role in the preservation and popularization of Ukrainian folk art traditions. His illustrations for historical accounts of Ukrainian Cossack history further cemented his connection to his Ukrainian heritage.
Pedagogical Contributions and Academic Recognition
Samokish's contributions to art extended beyond his own creative output. He was a dedicated and influential teacher for many years. In 1890, he was elected an Academician of the Imperial Academy of Arts, a testament to his standing in the Russian art world. From 1894 until the Academy's reorganization after the 1917 Revolution (effectively until 1918), he served as a professor and head of the battle painting studio at the Imperial Academy of Arts in Saint Petersburg. In this capacity, he mentored a new generation of artists, passing on his knowledge of composition, historical detail, and the specific techniques required for military art. Among his students were artists like Mitrofan Grekov, who would become a prominent Soviet battle painter.
His teaching philosophy emphasized direct observation, rigorous sketching from life, and a deep understanding of historical context. He encouraged his students to develop their own individual styles while adhering to the principles of realism and historical veracity. Later in his career, from 1936 to 1941, he taught at the Kharkiv Art Institute in Ukraine, further contributing to the development of artistic talent in his homeland. His influence as an educator was significant, shaping the course of battle painting in both Russia and Ukraine.
Collaboration with Elena Sudkovskaya
In 1889, Nikolai Samokish married Elena Petrovna Sudkovskaya (1863–1924), herself a talented and recognized artist, known for her book illustrations and decorative work. She was the widow of the marine painter Rufin Sudkovsky, a contemporary of Ivan Aivazovsky. Their marriage marked the beginning of a fruitful personal and artistic partnership.
Elena Sudkovskaya-Samokish often collaborated with her husband on various projects. As mentioned, they worked together on albums of Ukrainian decorative motifs. They also jointly participated in significant decorative projects, such as creating murals for the Tsarskoye Selo (Vitebsk) railway station in Saint Petersburg, depicting scenes related to the history of the railway. Their collaborative efforts often blended his strength in figurative and historical compositions with her flair for decorative design and intricate detail. This partnership was a notable example of a husband-and-wife artistic team in the Russian art world, akin perhaps to the later creative duos seen in the avant-garde movements, though their style remained firmly rooted in realism.
Navigating a Changing World: Revolution and Soviet Era
The tumultuous events of the early 20th century – World War I, the Russian Revolution of 1917, and the subsequent Civil War – profoundly impacted Russia and its artists. Samokish, already an established master of military art, continued to document these conflicts. During World War I, he again served as an artist-correspondent, this time for the magazine "Solntse Rossii" (The Sun of Russia), working on the Caucasian front.
After the Revolution, Samokish adapted to the new socio-political landscape. While the nature of patronage and artistic themes shifted, his skills remained in demand. He created works depicting episodes from the Red Army's history and the Civil War, such as "The Red Army Crossing the Sivash" (1935), which became an iconic image of that conflict. He also continued his work as an illustrator and teacher.
His engagement with Ukrainian themes also continued. He was involved in projects that aimed to promote Ukrainian national art, such as designing the interiors of the Poltava Provincial Zemstvo building (now the Poltava Local History Museum) alongside other Ukrainian artists like Sergey Vasylkivsky, incorporating traditional Ukrainian motifs and historical scenes. This project was a significant manifestation of the Ukrainian Art Nouveau style.
In the Soviet period, his contributions were recognized. In 1937, he was awarded the title of Honored Art Worker of the RSFSR. In 1941, he received the prestigious Stalin Prize (later renamed the USSR State Prize) for his artistic achievements, particularly his contributions to battle painting.
Representative Works: A Glimpse into His Art
Samokish's vast output includes numerous significant paintings and illustrations. Some of his key works, beyond those already mentioned, include:
"Night Raid" (1912): A dynamic and atmospheric depiction of a nocturnal cavalry engagement, showcasing his mastery of light and shadow, and the intense energy of battle. This work often relates to Ukrainian liberation themes.
"Field Marshal Mikhail Kutuzov at the Battle of Borodino" (1912): A historical painting commemorating the centenary of the pivotal battle of the Napoleonic Wars, capturing the gravity and strategic command of Kutuzov. This places him in the tradition of artists like Peter von Hess or Alexander Kotzebue who depicted Napoleonic battles.
"The Taking of the Heights of Matsievska-Sandepu by the Akhtyrsky Hussars" (Russo-Japanese War): A vivid portrayal of a cavalry charge, emphasizing the bravery and sacrifice of the soldiers.
Illustrations for "War and Peace" by Leo Tolstoy: While the provided text mentions a painting titled "War and Peace," it's more widely known that he, like many artists including Leonid Pasternak, created illustrations for Tolstoy's epic, or paintings inspired by it. If a specific large canvas titled "War and Peace" exists, it would be a major work.
"Kazak Holota i Tatarin" (Cossack Holota and the Tatar): A collaborative mural with S.V. Vasylkivsky, reflecting Ukrainian historical and folk narratives.
His works are characterized by a strong sense of realism, meticulous attention to historical detail (uniforms, weaponry, tack), dynamic compositions often featuring diagonal thrusts and dramatic foreshortening, and a profound understanding of human and animal anatomy, especially in motion.
Anecdotes, Controversies, and Artistic Connections
While major controversies in the modern sense are not widely documented, Samokish's career, like any artist navigating shifting political and artistic landscapes, involved choices and associations. His work as a war correspondent for tsarist-era publications and later for Soviet ones indicates an adaptability and a primary commitment to his role as a visual chronicler of military events.
His marriage to Elena Sudkovskaya, an established artist in her own right, was a significant personal and professional union. Their collaborations were generally well-received and highlighted a harmonious blending of talents.
Samokish's artistic network was extensive. His teachers – Villevalde, Chistyakov, Detaille – were all influential figures. He would have known and interacted with many leading artists of his time at the Imperial Academy and in the broader art circles of Saint Petersburg and Moscow. These included figures like Ilya Repin, Vasily Surikov, Valentin Serov, and Mikhail Vrubel, even if their artistic paths diverged. His specialization in battle painting naturally brought him into comparison with contemporaries like Franz Roubaud, famous for his panoramic battle scenes. In Ukraine, his collaborations with Sergey Vasylkivsky were significant for the development of a national artistic style. He also exhibited alongside artists like Ivan Kramskoy in various exhibitions.
Later Years and Enduring Legacy
Nikolai Samokish continued to work actively into his later years. During World War II, while in occupied Crimea, he reportedly continued to sketch and paint. He passed away on January 18, 1944, in Simferopol, Crimea, at the age of 83.
His legacy is substantial. Samokish is remembered as one of the foremost battle painters of his era, whose works provide invaluable visual documentation of significant military conflicts. His mastery in depicting horses remains a benchmark. As an illustrator, he brought history and literature to life for a broad public. As a teacher, he influenced generations of artists.
His works are held in major museums across Russia and Ukraine, including the State Russian Museum in Saint Petersburg, the State Tretyakov Gallery in Moscow, the National Art Museum of Ukraine in Kyiv, and numerous regional art museums. His art continues to be studied for its historical insights, technical brilliance, and its reflection of the complex era in which he lived and worked. He successfully bridged the traditions of 19th-century academic realism with the evolving demands of 20th-century art, leaving an indelible mark on the history of both Russian and Ukrainian art. His dedication to capturing the human and equine drama of conflict ensures his place among the great masters of military art.
