Page:Benois - The Russian School of Painting (1916).djvu/14

Table of Contents

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Italy.—"The Last Day of Pompeii."—Bryullov in Russia.—His portraits.—G. G. Gagarin.—Von-Moller.—Bruni, the Nazarene.—His life.—His "Brazen Serpent."—Nature of his talent.—Bryullov's pupils.—K. Makovsky.—"Décadence" of Romanticism.—Makovsky's paintings.—Semiradsky.—Mikyeshin.—Other epigones of Romanticism.

Chapter IV. Alexander Ivanov and Religious Painting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

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Alexander Ivanov and Romanticism.—His education.—Ivanov in Rome.—"Christ Appearing to the People."—His Biblical sketches.—His mysticism.—Ivanov's followers.—N. Gay.—His unbeautlful art.—His portraits.—Kramskoy.—His "Christ in the Desert."—V. Vasnetzov, the pioneer of neo-idealism.—His aims.—His technique.—Nesterov.—His landscapes.—Vrubel, the true successor of Ivanov.

Chapter V. Realism and "Purpose" Painting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

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The place of the realistic strain in the Russian school of painting.—Origin of Russian realistic painting.—The part of foreign masters.—Venetzianov.—The character of his realism.—His school and its destiny.—Realistic portraitists.—"Genre" paintings in Russia.—P. A. Fedotov, the father of "purpose" painting in Russia.—His life.—Art with a social tendency.—Fedotov's satirical pictures.—Perov, the representative of narrative and denunciatory painting.—Historical value of his pictures.—The First Secession: "The Refusal of the 13 Competitors."—Its significance.—Vereshchagin.—His pictorial ineffectiveness.—His place in the history of Russian painting.—I. Repin.—Repin and Kramskoy.—Nature of his talent.—His lack of education.—His portraits.—Other representatives of narrative painting.—The epigones: V. Makovsky.—Pryanishnikov.

Chapter VI. History and Fairy-Tale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

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Historical painting favourite with Russian realists.—Repin's historical paintings.—"Ivan the Terrible and his son Ivan."—"The Cossacks' Jeering Reply to the Sultan."—Other historical paintings.—Schwarz, the father of Russian national historical painting.—Surikov.—His influence.—His truly Russian colour gamut.—Ryabushkin.—S. Ivanov.—A. Vasnetzov.—V. Vasnetzov.—His influence.—His fairy-tale pictures.—His most remarkable paintings.—His school.

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