Ilya Repin in the context of "Desertion"

A staff of office is a staff, the carrying of which often denotes an official's position, a social rank or a degree of social prestige.

Apart from the ecclesiastical and ceremonial usages mentioned below, there are less formal usages. A gold- or silver-topped cane can express social standing (or dandyism). Teachers or prefects in schools traditionally carried less elaborate canes which marked their right (and potential threat) to administer canings, and military officers carry a residual threat of physical punishment in their swagger sticks. Orchestral conductors have in their batons symbols of authority as well as tools of their trade.

The Russian nihilist movement was a philosophical, cultural, and revolutionary movement in the Russian Empire during the late 19th and early 20th centuries, from which the broader philosophy of nihilism originated. In Russian, the word nigilizm (Russian: нигилизм; meaning 'nihilism', from Latin nihil 'nothing') came to represent the movement's unremitting attacks on morality, religion, and traditional society. Even as it was yet unnamed, the movement arose from a generation of young radicals disillusioned with the social reformers of the past, and from a growing divide between the old aristocratic intellectuals and the new radical intelligentsia.

Russian anarchist Peter Kropotkin, as stated in the Encyclopædia Britannica, "defined nihilism as the symbol of struggle against all forms of tyranny, hypocrisy, and artificiality and for individual freedom." As only an early form of nihilist philosophy, Russian nihilism saw all the morality, philosophy, religion, aesthetics, and social institutions which were in place as worthless and meaningless but did not necessarily see meaninglessness in all ethics, knowledge, and human life. It did however, incorporate theories of hard determinism, atheism, materialism, positivism, and egoism in an aim to assimilate and distinctively recontextualize core elements of the Age of Enlightenment into Russia while dropping the Westernizer approach of the previous generation. Russian nihilism developed an atmosphere of extreme moral scepticism, at times praising outright selfishness and championing those who held themselves exempt from all moral authority. In its most complete forms it also denied the possibility of common ideals, instead favouring a relativist and individualistic outlook. Nihilists predictably fell into conflict with the Russian Orthodox religious authorities, as well as with prevailing family structures and the Tsarist autocracy.

Ivan Dmytrovych Sirko (c. 1605 – August 11, 1680) was a Zaporozhian Cossack military leader, Koshovyi Otaman of the Zaporozhian Sich and putative co-author of the famous semi-legendary Cossack letter to the Ottoman sultan that inspired the major painting Reply of the Zaporozhian Cossacks by the 19th-century artist Ilya Repin. He was undefeated in battle and during his career gained fame all over Europe for his exploits against the Ottoman Empire and Crimean Khanate.

Desertion is the abandonment of a military duty or post without permission (a pass, liberty or leave) and is done with the intention of not returning. This contrasts with unauthorized absence (UA) or absence without leave (AWOL /ˈeɪwɒl/), which are temporary forms of absence.

The Imperial Academy of Arts, informally known as the Saint Petersburg Academy of Arts, was an art academy in Saint Petersburg, founded in 1757 by Ivan Shuvalov, the founder of the Imperial Moscow University, under the name Academy of the Three Noblest Arts. Catherine the Great renamed it the Imperial Academy of Arts and commissioned a new building, completed 25 years later in 1789 by the Neva River. The academy promoted the neoclassical style and technique, and sent its promising students to European capitals for further study. Training at the academy was virtually required for artists to make successful careers.

Formally abolished in 1918 after the Russian Revolution, the academy was renamed several times. It established free tuition; students from across the country competed fiercely for its few places annually. In 1947 the national institution was moved to Moscow, and much of its art collection was moved to the Hermitage. The building in Leningrad was devoted to the Ilya Repin Leningrad Institute for Painting, Sculpture and Architecture, named in honor of Ilya Repin, one of the foremost realist artists in Russia. Since 1991, it has been called the St. Petersburg Institute for Painting, Sculpture and Architecture.

Pavel Mikhaylovich Tretyakov (Russian: Па́вел Миха́йлович Третьяко́в; 27 December 1832 – 16 December 1898) was a Russian businessman, patron of art, collector, and philanthropist who gave his name to the Tretyakov Gallery and Tretyakov Drive in Moscow. His brother Sergei Tretyakov was also a famous patron of art and a philanthropist.

Peredvizhniki (Russian: передви́жники, IPA: [pɪrɪˈdviʐnɪkɪ]), often called The Wanderers or The Itinerants in English, were a group of Russian realist artists who formed an artists' cooperative in protest of academic restrictions; it evolved into the Society for Travelling Art Exhibitions, in short Peredvizhniks, in 1870.

Igor Emmanuilovich Grabar (Russian: И́горь Эммануи́лович Граба́рь, 25 March 1871 – 16 May 1960) was a Russian Post-Impressionist painter, publisher, restorer and historian of art. Grabar, descendant of a wealthy Rusyn family, was trained as a painter by Ilya Repin in Saint Petersburg and by Anton Ažbe in Munich. He reached his peak in painting in 1903–1907 and was notable for a peculiar divisionist painting technique bordering on pointillism and his rendition of snow.

By the end of 1890s, Grabar had established himself as an art critic. In 1902, he joined Mir Iskusstva, although his relations with its leaders Sergei Diaghilev and Mstislav Dobuzhinsky were far from friendly. In 1910–1915, Grabar edited and published his opus magnum, the History of Russian Art. The History employed the finest artists and critics of the period; Grabar personally wrote the issues on architecture that set an unsurpassed standard of understanding and presenting the subject. Concurrently, he wrote and published a series of books on contemporary and historic Russian painters. In 1913, he was appointed executive director of the Tretyakov Gallery and launched an ambitious reform program that continued until 1926. Grabar diversified the Tretyakov collection into modern art and in 1917 published its first comprehensive catalogue. In 1921 Grabar became the first professor of Art restoration at the Moscow State University.