Studio: international art (71.1917)

Studio- Talk

endeavours, the full synthesis of which was Iskustva." Many of these, moreover, were absent,
displayed in a large canvas representing the and among those who were represented both
dawn of a summer day, considered by many Dobuzhinsky and Kustodieff showed works of
the clou of the exhibition. Yuon strives less less importance than usual. On the other hand,
for a fixed style than for effects true to nature, Mme. Ostroumova-Lebedeva's studies of the
and in this direction he has acquired great " oil" city of Baku aroused great interest, as
power, especially in his interpretations of the did the paintings of P. Kusnetsoff, notable for
Russian winter and of provincial life, to which their intensity and individuality of colour, and
he returns from time to time with success, some original decorative compositions by K.
A glowing Sunset by A. Ryloff impressed by Petroff-Vodkin. The chief success of the ex-
its freedom from the banality commonly hibition, however, was due not to the paintings
associated with the subject. but to the contributions in the sphere of the

- graphic arts. In this connexion the life-sized

The reappearance of Philip Malyavine after portraits of Eugen Yakovlieff call for special
a pause of several years aroused great expecta- notice. Executed in red chalk and tempera,
tions, but these were entirely disappointed, designed with great virtuosity and cleverly
His large studies of the Russian peasantry still composed, these cartoons, notwithstanding their
show traces of a virile talent and
original temperament, but these
are set off by the adoption of
methods which produce an effect
of repulsion rather than attraction,
and recall certain Munich painters
of twenty or thirty years ago.
Among the few portraits shown
at this exhibition, two noteworthy
examples were L. Pasternak's en-
gaging presentment of a young
lady, treated with greater boldness
than is customary with this artist,
and his excellent portrait of Vassili
Maklakoff, the Progressive leader
in the Duma. Some works by M.
Pyrin, composed with much taste
and skill, must not be omitted in
this brief survey of the Soyouz
exhibition.

The exhibition of the " Mir
Iskustva" (World of Art) pre-
sented a different aspect from that
of the " Soyouz," for here, instead
of the stability noted in connexion
with the latter, there were signs of
an internal fermentation having
taken place. A note of discord
was introduced by some recruits
from the ranks of the Post-Impres-
sionists, led by Ilya Mashkoff and
Peter Konchalovski, and their
rather noisy fanfare had the effect
of depressing the more gentle tones portrait of v. maklakoff by l. pasternak

of the real founders of the "Mir (Union of Russian Artists, Moscow)

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