File:The art of painting in the nineteenth century (1908) (14596827628).jpg

Identifier: artofpaintinginn00machrich (find matches)
Title: The art of painting in the nineteenth century
Year: 1908 (1900s)
Authors: Mach, Edmund von, 1870-1927
Subjects: Painting -- History
Publisher: Boston and London, Ginn and company
Contributing Library: University of California Libraries
Digitizing Sponsor: MSN

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uence on the younger generation. Whilehis portraits of famous Russians have gained himthe name of the Russian Lenbach, his greatestsuccesses have been achieved with extended com-positions. At times his realism is almost photo-graphic, and deserves, in so far as it is so, noadmiration. There is, moreover, in many of hispictures a scattering of interest due to the multi-plicity of types introduced, of which one alonewould suffice to give the pictures value. Alek-sander Ivanov (1806-1858) frequently selectedhis subjects from antiquity, and painted them,like many modern Englishmen, with masterfularchaeological accuracy, believing that he couldthus make real again events long past. Valen-tin Syerov (1865 ) is a good portrait painter, and Alfred von Kowalski-Wierurz (1849 ) one of the best painters of native genre. In hispictures which depict the wintery loneliness ofhis native land he is unexcelled. In popular esteem none of these men can viewith Vasili Vereshchagin (1842-1904), who always
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RUSSIAN PAINTING 149 painted the naked truth and had a keen eye forthe sensational. That one aim of art might be toplease he did not know. He craved excitementand knew better than most men how to stir thesoul to its very depth. Surcharged with emotion,his canvases, nevertheless, are quiet in lines.What could be more impressive than his largepicture, Forgotten, where a dead soldier liesalone on a white and barren plain with vultureshovering over him and a few satiated birds rest-ing about him, while his fleshless arms indicatewhence had come their repast! Vereshchaginalways expresses himself clearly, just as his greatliterary compatriots do, but his technique, liketheirs, is by no means faultless. Judged by thelatter, both are mere infants when they are com-pared with the great French masters. Of the earlier men who followed more or lessin the lead of the continental Romanticists, KarlBryullov (1799-185 2), now almost forgotten, wasonce worshiped as if he had been a demigod.His great p

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