New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1900-09-16


rict1Ire of living beings in living scene, ana
that is all that counts. Gallens Detenseurs
de- Sampo," taken from the KaleVala' proVoKes
much the same comment. 1t is grlsly III thene
where HaloneI's picture is debOnair; ii is SINH
larly puzzling, but it is a weirdly aHurlng
thing obviously done by man who has per-
feet command of his instruments, and with the
original suggestive flavor that makes it i'm
possible for the work, once SEEM to be for
gotten These men both have other paintings
in the exhibition, but the signalized are
far more interesting than any of their com
ranions. The Finnish group is, in the main,
unable to reach the standard set by its leaders.
and its work is apt to be weak in conception,
fumbIing in execution, and repeent in color.
All the same the germ of better things is
at the bottom of their labors. Some day Fin
land will be heard of as in the van and con-
quering, if the extension of Russian rule over
the land does not discourage initiative.
AS for the Russians themselves, they seem
In matters artistic to be still less bar
barrie. A recent traveller has observed that in
Russia everything is big and overcolored. 1t
is with their paintings. One of the first OF
these found after crossing the threshold Of the |
section Is La Procession" an immense picture
by Piechowsk of a rustic religious fete Priests
and acolytes JOsted by peasants and
tradesmen. One of the last mentioned, a little |
with smile upon his round and shining face, |
as though he were just going to offer a bid at
some humble auction. The people all
painted as if from photographs 1t Is realism |
OF the soulless kind, a faithful transcript OF
what the unimaginative artist has been able to
see and nothing more. 1t is, alas entirely charac
teristic When the Russian artist is not supping
on horrors he is generally painting fiat common |
pace. One is confronted either by a picture
like lie Juif Errant." of Girsemberg in which |
a naked old man, with streaming hair is flee
ing through a wilderness Of crucifXes over the
bodies of dead men, or by sugary spectacles like
Constantin MakOvsky's big canvas Les
NOuveau Marits.' Makovsky who will be re- |
membered in America the painter a vast |
wedding picture at one time very popular is !
one Of a number of Russians who love to paint
scenes from the national life and history. pict-
ures full Of local color" and carefully studied |
costume Unfortunately these paintings are
without the breath of life, and invariably they |
are disfigured by trashy color.
The portraits of Ellie Repine are good and
there merits deserving of even more cordial |
praise in the original drawings made 10y Leoni |
Pasternac for the Illustration Of Tolstos recent
novel. Resurrection" These are poignantly /
realistic, and yet wear throughout attractive |
air, due beyond doubt to the and interesting
temperament of the artist. Three or four other
Russians possess like Pastcrnac and Rcpne. /.
qualities which relieve the monotony Of the walls.
There are creditable passages in the big peasant
studies Of Maliavine whose color is too hot. |
but whose broad style has a begung elasticity. |
korovine, who dwel.s in Paris. has picked up !
there a facility which lends artistic sparkle to
Les Espagnoles." his picture Of two young /
women standing at window. There is clever
ness in the portrait OF the Grand Duke Paul by [
Serov, in Eristoff's Baron de FIeedericks" and |
in Chelmonski's "PaysaEe" a pretty winter
scene with birds dotting the snow. Here how
ever the list Of tolerable things comes to an /
abrupt close. 1t IS not long enough nor are the
works II conprises-with the exception OF Pas
ternac's illustrat ons-original or strong enough |
to inspire much confidence in the present state
OF russian art The school is young TO be sure
ana II the artistic resources OF the Firms are |
foStered and given free play they may exercise
constructive influence. 1t is though, poor con
ISOLATION for the explorer of the Grand Palas no |
matter how patient he may be to reflect on
his hopes of the future slender enough at the
best, are seriously discounted by reflection on
what has HAPPIER ed elsewhere in the North.
AT the time Of the Chicago exhibition a de-
cldedly favorable impression was left by the
Swedish artists. Partly, doubt the newness
was felt also. and with reason that Swedish |
exploitation of impressonistic ideas was pro-
ducing good results. Zorn and his countrymen