Page:Benois - The Russian School of Painting (1916).djvu/15

Table of Contents

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Chapter VII. Landscape and Free Realism . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

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Two currents in the evolution of the Russian landscape.—Silvester Shchedrin.—M. Lebedev.—Evolution of Russian landscape until the seventies.—Ayvazovsky.—M. K. Klodt.—Shishkin.—F. Vasilyev.—V. D. Polyenov.—A. Kuindzhi, the impressionist.—The Landscape in the eighties.—Levitan.—The narrative landscape.—His technique.—His truly Russian landscape style.—The poetry of Russian nature brought to expression.—Levitan's followers.—Nesterov.—Syerov.—His artistic personality.—His landscapes and portraits.—His historical compositions.—K. Korovin, the Bohemian.—His decorative works.—His colour gamut.—Free Realists.—Braz.—Sergey Korovin.—Arkhipov.—Pasternak.—Mary Yakunchikov.—Grabar.

Chapter VIII. Contemporary State of Russian Painting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

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The critical-historical method inapplicable to the treatment of contemporary art.—Absence of a distinct æsthetic system or programme in contemporary Russian painting.—The future of Russian painting.—Contemporary masters.—Vrubel.—His themes.—His genius.—Somov.—His scope and talent.—His technique.—His place in the history of Russian painting.—Malyavin, the bard of Russian peasant-women.—Return to the national past.—V. Vasnetzov.—Count Sollogub.—Miss H. Polyenov.—Her efforts to develop art industries.—Malyutin.—Golovin.—His colour gamut.—His theatrical decorations.—Bakst.—His decorations.—His book illustrations.—The Renaissance of the Russian book.—Lanceray.—Bilibin.—Roerich.—Dobuzhinsky.—Musatov.—The phantasts and symbolists.

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