DOI issue:
No. 166 (January, 1907)
DOI article:Frantz, Henri: The exhibition of Russian art in Paris
DOI Page / Citation link: https://doi.org/10.11588/diglit.20716#0340
The Exhibition of Russian Art in Paris
"the old town'' by nicholas rohrich
prevented from expanding beneath the immovable Roslin, Moreau le Jeune, and others, came
yoke of ecclesiastical canons, yet we frequently to Russia in the reign of Catherine II. (1762-
come across instances of delightful decorative 1796), and it was under the influence of these
grace side by side with extraordinary richness of admirable artists that the painters Levitzky (1735—
colour. The Byzantine tradition in these ikons 1822) and Borovikovski (1758-1826) developed
was perpetuated until the beginning of the their talent. Both were well represented at the
eighteenth century, when Peter the Great attracted Grand Palais, the first-named by several charming
foreign artists to his court. Under the reign of portraits of women dancing, and by a whole series
Elizabeth an academy was founded in St. Peters- of great personages of the period; and Borovi-
burg, and quite a large number of French and kovski, the chief pupil of Levitzky, by no fewer
Italian artists came to live there. They had than twenty of his canvases, including the por-
an influence on Russian architecture, sculpture traits of the great Catherine and the Emperor
and painting, the depth of which is seen even Alexander I. Compared with these two great artists,
to-day. Tocque and Lagrenee, Falconnet, Miropolski, Drozhine and Rokotoff are rather
" small beer." In addition
to these portraitists there
were also several excellent
landscapists, such as Stche-
drine, Alexeieff, Belsky, and
Ivanoff, who, in their charm-
ing views of St. Petersburg,
were obviously inspired by
Canaletto, and in their
decorative park scenes by
Hubert Robert and Vernet.
Temporarily misled
through the "booming" of
the antique by David and
his school, the Slavonic
imagination was somewhat
deeply touched by the
"romantic" shock — as
witness the work of Ivanoff,
Brullow and Orlovski —
' the log hut " by korovine and thence returned, with
"the old town'' by nicholas rohrich
prevented from expanding beneath the immovable Roslin, Moreau le Jeune, and others, came
yoke of ecclesiastical canons, yet we frequently to Russia in the reign of Catherine II. (1762-
come across instances of delightful decorative 1796), and it was under the influence of these
grace side by side with extraordinary richness of admirable artists that the painters Levitzky (1735—
colour. The Byzantine tradition in these ikons 1822) and Borovikovski (1758-1826) developed
was perpetuated until the beginning of the their talent. Both were well represented at the
eighteenth century, when Peter the Great attracted Grand Palais, the first-named by several charming
foreign artists to his court. Under the reign of portraits of women dancing, and by a whole series
Elizabeth an academy was founded in St. Peters- of great personages of the period; and Borovi-
burg, and quite a large number of French and kovski, the chief pupil of Levitzky, by no fewer
Italian artists came to live there. They had than twenty of his canvases, including the por-
an influence on Russian architecture, sculpture traits of the great Catherine and the Emperor
and painting, the depth of which is seen even Alexander I. Compared with these two great artists,
to-day. Tocque and Lagrenee, Falconnet, Miropolski, Drozhine and Rokotoff are rather
" small beer." In addition
to these portraitists there
were also several excellent
landscapists, such as Stche-
drine, Alexeieff, Belsky, and
Ivanoff, who, in their charm-
ing views of St. Petersburg,
were obviously inspired by
Canaletto, and in their
decorative park scenes by
Hubert Robert and Vernet.
Temporarily misled
through the "booming" of
the antique by David and
his school, the Slavonic
imagination was somewhat
deeply touched by the
"romantic" shock — as
witness the work of Ivanoff,
Brullow and Orlovski —
' the log hut " by korovine and thence returned, with