The Minneapolis journal. [volume] (Minneapolis, Minn.) 1888-1939, 1904-04-16
Verestchagin.

If the tragical death of Admiral
MakaroR was a great loss to the Rus
sian navy, sorely in need of expert
naval talent, the concurrent tragical
death Of the great Russian artist,
Verestchagin, who was the admirars
guest on board his ill-starred battle
ship, and went down with him to the
beautiful bottom of Korea bay, Is an
irreparable loss to the national art in
terests of his country.
Minneapolitans, a few years ago,
were privileged to see some Of the
best examples of Verestchagin's art
in the collection on exhibition in this
city. In that collection was the pic
ture which brought upon the great
artist the wrath and indignation Of
the sensitively patriotic people of
Russia, when it was first exhibited in
that country. This was the remark
ably fine canvas showing the brilliant
procession Of the great Durbar in
India at Delhi, on the occasion Of the
visit Of the Prince Of Wales, now King
of England and Emperor Of India, in
1S75-76, the prince appearing at the
head of the procession, seated on an
elephant in gorgeous apparel, and sur
rounded by a brilliant escort. YER
estchagin was -hotly accused of de-
ficiency in patriotism by press and
people, altho he had been immensely
popular previously, because he had
portrayed the heir to the English
throne and the Indian imperium as the
central figure In the painting.
At that time Russia had not hest
tated to declare that her eastward
progress had it's chief objective in
India, and Russian sentiment largely
spelled itself in getting compensation
for Great Britain's industry in keep
Ing Russia out of Constantinople and
the waterway between the Black sea
and the Mediterranean, by terminating
British power in India.
The Inflammation Of the Russian
mind over Verestchagin's picture was
due to the diligent cultivation by the
panslavist party Of hostility to Great
Britain, so that the portrayal of the
triumphant march Of the future En-.
peror Of India stung the Russians tt
madness, and there were not wantins
people who would have torn tina
splendid canvas to shreds, if the,
could have taken hold of it, Yer
estchagin survived the noisy charge O.
treason by the Russian patriotic press
and all art lovers, Of whatever nation
will deplore his tragical death befor,
Pert Arthur, whittier he had gone t,
secure more hints for his series O
war pictures at close range.
No one who has seen his picture
of the Delhi Durbar and It's pageant
or 'The Day of DEATH or the mill
tary burial scene. where the Russian
priest is seen chanting the prayers fo
the dead and slowly swinging the cen
ser beside a vast number Of deat
Russians, laid in long rows befor,
him, can ever forget them. AS :
painter of war scenes Verestchagi1
has had few equals. 1.-THE Way O
Death" is heart breaking in it's melan
choly suggestions. His pictures o
India are sometimes criticized as be
ing too flooded with light. But tina
Is India's atmosphere. verestchagil
has studied the pervasive splendor O
the sunlight Of India. He places tn
sunlight on his canvas with fidelity t
nature, such as John Ruskin insist
upon in his fine discourse on the trutl
of color, In his Modern Painters.
Ruskin's language as to one of Turn
er's pictures is applicable to Yer
estchagin's sunlight painting: "w
approach only to follow the sunshin
into every Granny of the LEAKAGE an
retire only to feel 1t diffused over tn
scene, the whole picture CLOWN
like sun or star at whateve
distance we stand, and lighting tn
air between US and it."