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#0341
The Exhibition of Russian Art in Paris
all the ardour of our own
Courbet, to realistic art as
illustrated by Repine and
Verestchagin. A little later,
as a re action against the
ultra-conservative tenden-
cies of the Academy, there
was formed under the title
of the " Ambulants" a
society of artists who
played a role analogous to
that of our dissentient
Salons.
The latter part of the
nineteenth century was par-
ticularly well represented
the dead city by constantin bogaievsky
by a'pleiad of living artists in full activity. Like
their predecessors they have in many cases dipped
deep into eastern sources. While Benois is haunted
by the spirit of the eighteenth century, and in his
little canvases revives its bewigged personages
and its hooped marquises, gyrating about their
well-trimmed hedges, we find other painters, like
Leon Bakst, impressed by Aubrey Beardsley and
the English decorators, yet with a vision all their
own.
Nevertheless, one can set up a general classifica-
tion among all these artists. Some, like the two
highly-gifted painters just mentioned, are, above
all, imaginative, cultured, impregnated with litera-
ture, and thoroughly versed in the work of the
East. Here w.e had the St. Petersburg School,
which can boast yet other masters apart from the
two artists already referred to. Among them I
noticed Somoff, represented by some two score
pictures, drawings and book-covers; Lanceray,
author of an excellent picture, ZJImperatrice Elisa-
beth d Tsarskoie Selo, and sundry charming illus-
trations ; Dobuzhinski; Koustodieff, who showed a
pleasant drawing of Count Witte ; and Ostrooumov,
whose wood engravings are quite remarkable.
The Moscow School is nearer to Nature and at
times more barbaric. Therewith must certainly be
associated Philip Malyavine, an ardent colourist,
whose crayon studies constitute so many "docu-
ments " on the rustic life of Central Russia; and,
though he does not live there, Moscow must have
the credit attaching to that most interesting artist,
Constantin Korovine, whom Paris was happy to
greet anew in its midst. Korovine adorned with
admirable paintings the Central Asian Pavilion at
1 birch tree" by igor grabar the Exhibition of 1900. Here he was represented
321
all the ardour of our own
Courbet, to realistic art as
illustrated by Repine and
Verestchagin. A little later,
as a re action against the
ultra-conservative tenden-
cies of the Academy, there
was formed under the title
of the " Ambulants" a
society of artists who
played a role analogous to
that of our dissentient
Salons.
The latter part of the
nineteenth century was par-
ticularly well represented
the dead city by constantin bogaievsky
by a'pleiad of living artists in full activity. Like
their predecessors they have in many cases dipped
deep into eastern sources. While Benois is haunted
by the spirit of the eighteenth century, and in his
little canvases revives its bewigged personages
and its hooped marquises, gyrating about their
well-trimmed hedges, we find other painters, like
Leon Bakst, impressed by Aubrey Beardsley and
the English decorators, yet with a vision all their
own.
Nevertheless, one can set up a general classifica-
tion among all these artists. Some, like the two
highly-gifted painters just mentioned, are, above
all, imaginative, cultured, impregnated with litera-
ture, and thoroughly versed in the work of the
East. Here w.e had the St. Petersburg School,
which can boast yet other masters apart from the
two artists already referred to. Among them I
noticed Somoff, represented by some two score
pictures, drawings and book-covers; Lanceray,
author of an excellent picture, ZJImperatrice Elisa-
beth d Tsarskoie Selo, and sundry charming illus-
trations ; Dobuzhinski; Koustodieff, who showed a
pleasant drawing of Count Witte ; and Ostrooumov,
whose wood engravings are quite remarkable.
The Moscow School is nearer to Nature and at
times more barbaric. Therewith must certainly be
associated Philip Malyavine, an ardent colourist,
whose crayon studies constitute so many "docu-
ments " on the rustic life of Central Russia; and,
though he does not live there, Moscow must have
the credit attaching to that most interesting artist,
Constantin Korovine, whom Paris was happy to
greet anew in its midst. Korovine adorned with
admirable paintings the Central Asian Pavilion at
1 birch tree" by igor grabar the Exhibition of 1900. Here he was represented
321