This article explores the development of a singular painting by Russia's most famous realist painter, Il΄ia Repin. First exhibited under the title Un café du boulevard, the work was conceived during Repin's stay in Paris from 1873–75. Repin himself described the work as “the main types of Paris in their most typical place,” but what he produced proves a departure for the young artist, not only in terms of its Parisian subject matter. Careful analysis of Repin's letters and the work itself shows him searching for a stylistic language that had universal translatability in this moment, one that he importantly associated with the French artist Édouard Manet. Understanding how Repin came to center his painting on cocottes and flâneurs, the foremost heroes of west European urbanity, allows for a new understanding of transnational connections in late nineteenth-century art, one in which Russian artists mediated French modernism as it was developing.

中文翻译：

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Il΄ia Repin 在巴黎：调解法国现代主义

本文探讨了俄罗斯最著名的现实主义画家伊利亚·列宾创作的一幅奇异画作。首次以标题展出大道咖啡馆，这件作品是在列宾于 1873-75 年在巴黎逗留期间构思的。列宾本人将这件作品描述为“巴黎最典型的地方的主要类型”，但他的作品证明了这位年轻艺术家的一种转变，不仅仅是在巴黎主题方面。对列宾的信件和作品本身的仔细分析表明，他正在寻找一种在这一刻具有普遍可译性的文体语言，他与法国艺术家爱德华·马奈很重要地联系在一起。了解列宾如何将他的画作集中在西欧都市生活中最重要的英雄 cocottes 和 flâneurs 上，可以对 19 世纪后期艺术中的跨国联系有了新的理解，在这种联系中，俄罗斯艺术家在法国现代主义的发展过程中起到了中介作用。