New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1891-10-20
THE yEREsTCHAGIN COLLECTION.

It is not necessary TO go beneath the surface "
yerestchagin's work TO discover the Tartar ehars'
Istics which attributed to every Russian by s w
proverb. The immense canvas which stood on 70.
very threshold of the exhibition at the American al
Galleries, the representation OF the Prince OF "A'''
entry into Jeypore in 1875 confesses the artist az O
as an unbridled colorst apd lover of the maten@ -
poets of things. In other paintings VeTestchasn w
clares humanitarian purpose, but in none OF ue
does no depart from the purest realism. Whae'"
touches OF idealism he has touches OF moral ics
the poetical impulse is unknown to him. The eaoiss
motive of his work is the spectacular motive I'm.
most productions bearing similar stamp, however ~
are undenIably sincere lie has a large Sympa'H' "
the sorrows Of mankind especially for those sorOs'
which spring from the chances Of war, and TINS ~D.
his work power which attracts, where his msis ~
ainmentS as painter would fail 10 awaken the sHs1'
est interest. ~,
No better illustration OF this could DO uss
than that offered by the group OF palnunsS
the first room at the American Art Galleries -
Prince OF Wales's pageant afforded NereStenaglu =
opportunity TO revel in strong Oriental eoors' VIZ
he sure to appreciate But his pant j ~ ~,
transparent, and his picture is barbarouS IN 0O
as 1t is in spirit. The principal group Is not ~"
ciehtly emphasized, either. and the final mpres'op
the picture is unfavorable. on the other hand
military subjects opposite, SkObcleff at shlpAa
Turkish Hospital al Plevna," while not mgch OeVs
painted, far moro impressive, because Vi '
pathetic interest. VereStchagin may not hA'e US,
tered all the science of his art, but he KNOWS ~.
that part OF 1t which relates 10 contrast 10 rea' -
long line of applauding soldiers in the middle -.
OF the SkObeef at Shpka,' the eye must il'' TIA
the frozen corpses scattered in the Foreground ~.
intention OF the artist TO provoke rehecuon -,
yious The terrible price paid for victory Is -,
in all It's horror. That is Nerestchaghs a..
theme, the seamy side OF war. In the IuTA'D ma
pital at Plevna death regns supreme. Iho 20 go
light struggling I'm at the broken window bnnsS
CHASTITY relief the corpses lying In Min on u0 80
such a charnel house subject is best left unpai'eo
when il insists upon presenting Itself 1t IS us'i. ~.
deny its fascination as moral force. UpstaHs' - :.
main gallery are three important Speclng1nno s,
the artists painted preachments, the senSalOD
nres ot cmciyion hanging and blowing from Gun. .s
Verestchagn has a large way with MN, anu iHcr@a,s
pictures are enormous. The scale s;VeS 70 which
Inc realistic effect, effect the coa,NtIcss o.,me NJ
WINS sufhciently treated In The Tribune at the t Ar.
the first exhibition. Ia the third large zine N
more canvases OF the same epical olmehslohss ni
the same quality These potcntous WORKS shVe land-
divert the visitor from the small nnobtrusNe hs
scapes which appear with them. Inc Slime iOg
landscape canVases have restrained ms .e,ts foeu-
gbundance OF color and I'm studies Ike No ~ aarian
tain near Nazareth and No ri, Ihst fit " lament
where Christ was Baptized he has seeurd esroIs
and charm. These smaller studies anu s ie which
articles OF Russian and East Indian niy Oh
are displayed In cases, likely 20 DE inc Ua' sse
iects OF spirited competition at the appruac.s, ons
liz is announced that the sale has been peg, a.
owing 10 the serious illness Of VereStclasli' D"'
exhibition will continue until further nouee'