The Memphis appeal. [volume] (Memphis, Tenn.) 1886-1890, 1889-01-20

Clarence Cook, In Harper for January.
II has been remarked by sagacious
observer that the art OF Russia has followed
with faithful steps the remarkable evolu-
ton that has taken place in her literature.
I'm less than fifty years" says the Vicomte
T.. NJ. de Vogue, "Russian literature has
swung round rapidly from the austocratic
elegance and the romantic ideals Of
a Pushkin or LcrmontoT to the un-
healthy analysis, the rude realism, often
coarse and often powerful, Of the pro-
ductions of our own time. In the same
way the new art betrays in its strong pre-
dilection the fundamentally democratic
genius OF the race. The wit, the gayety,
the delicate qualities that have made the
fortune Of genre painting in France, are
here almost unknown. The soul of Russia
is epic and lyric. Today il is the epopee
OF the poor and the humble that wins
favor. The latest come among the paint
ems and those most enjoyed by the public
are those who interpret life with sad and
bitter strokes: the scenes and the persons
which they love TO paint speak to Us of a
resigned idtalism or OF dumb revolt;
we feel that their pencils translate the pages
OF Dostoievski OF OF Nekrassof. Their hui
morists have the heavy hand; they force
the note, and easily become vulgar. That
which shocks us most in their rude ma
lures, too rapidly ripened by civilization,
is the absence OF politeness-in the old
and true sense Of that word; Il is replaced
here bya somber energy OF expression and
manner. The painters OF want and suffer
ing are dramatic because they are evident
ly sincere; they are not amusing them
selves with playing variations upon any
art theme. Those who study nature re-
gard her with a deep penetrating senti-
mcnt, not always found IN the same meas
ure among our French masters"
When We turn 10 The art OF sculpture we
find that within It's own limits il has shown,
rs was 10 have been expected, the same
characteristics ns painting; there is the
same want Of artistic feeling, Of imagina-
ton, OF poetic Interpretation Of nature;
the sculpiors are satisfied, rs the painters
are satisfied, with reporting rs directly aud
as yeraciously as possible what passes be-
fore their eyes.
No more than elsewhere has sculpture
in Russia attempted TO rival painting in
ANlf Representation VI u WIN AflA W NAu@
man lite. But sculpture, as sculptoB
understand IL, can hardly bo said 10 exist
in Russia, since the word is thought 20
be OF too great dignity 10 be applied TO
the bronSss, for example, which We are
considering; and, with few exceptions,
these 'bfonzcs represent THE highest
achievement in this field Of art that has
been reached in the country VI. DE
Vogue gives several reasons for this pow
crty Of production. That there is no
marble in Russia, or 80 little that It may
fairly be said there Is none, which Is one
OF NJ. De Nogue's reasons for the absence
OF sculpture, seems 20 us OF small inn
poriancc, for there Is no marble fit
Tor the sculptor's use In any country
Of Europe north of the Alps. What +
moro TO the purpose is, that marble
cannot be safely employed for work
that Is 10 be exposed TO so rigorous
climate; Il chips and scales under
the intense cold. Such statues a. there are
in the public squares and imperial pleasure
grounds have to bo boxed up every au.
tumn; but this Is an insufficient proiec.
ton, aud they are gradually destroyed by
the climate. Then, again, tho orthodox
religion prohibits the reproduction in the
churches Of the human figure in thoround.
though bass-rclcis are allowed; and
this takes away large field from the
Gculptors, which in every other European
country they have cultivated 10 great
profit And besides the veto OF the
Church, there Is the veto OF the State. I'm
I'll late period the Government refused 20
permit the employment Of bronze Tor the
statues OF persons Ia civil life. That ma.
tcrial was reserved for the sovereign and
for few Of the more illus,rious generals
of tho army