New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1899-01-30
LONDON NOTES.
THE vEREsTCHAGIN EXHIBITIoN-FoR-
EIGNERs AT THE ENGLISH BAR
PEACE AT COvENT GARDEN.


London January Is
Another one-man show has been added TO the
Rembrandt and Burne-Jones exhibitions, while
the Turner's are still held back for the Guiidhah
in spring. The new collection il Verestchagin's
series Of fifteen pictures illustrating Napoleon's
invasion OF Russia. which Is supplemented by
seventv-sIx studies and sketches. including
landscapes bits OF genre. portraits ana SOU
venirs OF travel. and by fifty photographs OF the
artists earlier pictures. II is badly arranged i'll
the Grafton Galleries. and the catalogue IL
exasperating in minuteness OF detail ana eN-
pository lore: but the pictures are interesting as
examples Of panstaking and exact study ana
cold and hard realism. which informs the under
standing without appealing to heart or magma
ton Verestchagin knows the art OF war for ne
has had personal experience as correspondent
and artist on the battlefield at Pevna and In
tie Balkan passes during the Russian winter
campaign He is a realist, who sees only the
sombre aspects OF war with its ghastly carnage
and reve OF horrors. In his eagerness to tell the
whole truth and nothing but the truth about
war he has unconsciously become the evangel OF
q milIennial eirenicon.
These pictures of Napoleon and his soldiers at
BorodnO burning Moscow and on the long,
disastrous retreat have grim dramatic quality
and a convincing air Of truthfuness IN all oe-
tails Of costume architecture and landscape.
The artist has taken exceptional pains TO pre-
sent the Emperor in the fur-lined Polish CLOAK
and close-fit cap which he wore in place OF
the familiar gray coat and cooked hat. and a
series Of carefully Ella borated historical portraits
is TO he found in the faces and figures Of the
staff officers The spectator does not need 10 be
told that the uniforms OF the soldiers, the cos
tunes OF the peasants and the dazzling effects
OF strong sunlight in snowbound Russia are az
accurate as prolonged study and close observa-
ton can render them. Mr.. Nerestchagns state
ments Of fact on these large canvases pass un-
challenged. The precision Of the method is un-
rnistakable although he is weak in technique
and lacks a true sense OF color. II leaves the
spectator unnoved and lstless. There is
realistic recitation Of the horrors OF a winter
campaign I'm a snow buried country, but the
Imagination has not been touched by all these
depressing matters OF fact
PICTURES AND TRADITION.
The pictures OF the sea OF fire in the burning
city and Of the street scenes after the fire are
impressive compositions; but how feebly do
they denote the patriotic significance OF the most
glorious tradition of Moscow! Napoleon's entry
was the signal for magnificent act OF SELL
sacrifice, which redeemed Russian history from
bovars The Russians. loving Moscow as the
most sacred OF their icons surrendered 1t to the
flames In order 20 repel foreign invader ana
70 force a disastrous retreat The skies are
IurId in thes, pictures but the spectator misses
| the sentiment and inspiration OF that splendid
triu-,nh O. self-sacrifice which dirnihed and
ennobled Russian character. In the same way
realism has its limitations in such pictures as
| "On the Great Road-Retreat and Fhght' anu
| Taken and Shot" The ow-paintirg u must
! skilful and the suferngs OF the frost-Dtleh
| soldiers and OF the wretched peasants "hose
homes are desecrated with wanton outrage are
faithfully reproduce led in narrowing de'sh, pu'
the figure OF the fur wrapped Emperor truusihs
on in mute despair or sentencing 10 dea'h Tue
wayside victims of the retreating army Oh W.
noralized stragglers does not exert emo''oH'
II has no pathetic message for the IMAGINATION
rba German Emperor seems TO have been i'm
I pressed with It : ty5e OF BARRED a'ho''o" I''
universal conquest but doubtless he was inhu-
enced by elf-consciousness 81 his own power
as the master Of a military empire Inc orui-
! nary spectator is unmoved by the cro"heu
| fugitive OF destiny With all his accuracy OF
! naintinr Verestchagin's Napoleon seeTns 10 ne
utterly lacking in the inspiration OF hiSn art
Verestchagin's less ambitious sketches anu
] more interesting NhaN H'8 "
scenes because they reveal in more poetic
vay what is quaint and picturesque IN RUSSIAN
life without the wearisome sense OF elaoo' a
ton one OF the most luminous pictures -
winter Fog on the Kremlin." with the FAMOUS
view from the bridge and with immense rum
,arts or snow in front Of the palaces, churches
and towers There are also glmlses ol the
gorgeous churches with their brhhah' cere-
monals. and there are strong types OF RUSSIA"
naasantrv with the Characteristic tone OF SAD
ness which is always TO be seen In their s'on'
faces Verestchagin is most enectVe Win ~
,s least matter Of fact His realism IL me oH
lie scenes IS hard prose; he seems to he attempt
Ing 10 sdurt too closely nis personal experience
and nractical knowledge to the incidents OF
carnnajgn. and It is only In his rapid sketches
that he allows himself poetic license anu J.
enabled TO make subtle appear 10 the i"'s IL"
ton
THE INNS OF COURT.