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Studio: international art — 82.1921

DOI issue:
No. 343 (October 1921)
DOI article:
Studio-talk
DOI Page / Citation link:
https://doi.org/10.11588/diglit.21393#0197

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Eelco M. Vis, of Amsterdam. This collec-
tion, from which the accompanying illus-
trations are derived, is a very com-
prehensive one, comprising examples of
the most varied types, and the whole
has been classified and arranged with
great particularity. It includes some of the
rarest and most valuable picture tiles,
executed in rich colour schemes, some of
them consisting of a large number of small
tiles combined to form an elaborate tableau
(one example contains no fewer than 357) ;
and choice specimens from the earliest
period are also among its treasures.—C.G.

MOSCOW.—A long time has elapsed
since I last had the pleasure of con-
tributing to the pages of The Studio,
and in the meantime, as everyone knows,
far-reaching changes have taken place in
all aspects of Russian life. Naturally the
sphere of art has not been exempt from
the troubles which have accompanied the
new order, but here the changes arising
have not been of so radical a character
as those affecting other spheres of activity.

During the war Russia, unlike the
countries of Western Europe, suffered no
serious loss in the ranks of her artists.
The only notable loss was that occasioned
by the death of Vassili Surikoff, who,
born in 1848, was one of the most gifted

and original painters among the older
generation of modern Russian artists. His
great historical canvases, such as The
Boyarin Morosova, The Execution of the
Streltsi, Menshikoff, and others, are well
known even to the casual student of
Russian art. It is a pity that so far no
commemorative exhibition of the late
artist's entire ceuvre has been arranged,
including those numerous preparatory
studies and drawings of his which he
refrained from exhibiting, as well as his
early works. Such an exhibition is all
the more necessary in view of the fact that
Surikoff did not produce much during
the latter part of his life, and the course of
his development is not familiar to the
present generation. 0 0 0 0
After the revolution the situation rapidly
changed in an unfavourable way for
artists. With the new political and
economic conditions came a great difficulty
of earning a livelihood, an acute scarcity
of food and other necessaries, as well as
many other hardships which, with the
various epidemics, made the harvest of
death more copious. A considerable
number of gifted artists were cut off
prematurely in the prime of life, such as
Baron N. Clodt, A. Mamontoff, V. Pere-
pletchikoff, and I. Gugunova among others.
George Narbutt, one of our most brilliant

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