Page:Benois - The Russian School of Painting (1916).djvu/13



Two fundamental currents in painting.—Their blending.—Methodical principles: manysidedness and proportionality.—Their application to the history of Russian art.

Old church painting and its destiny.—Foreign masters in Russia under Peter I.—Efforts to implant a national art.—Andrew Matvyeyev.—Ivan Nikitin.—The reign of Queen Elizabeth.—More foreign masters summoned.—I. I. Shuvalov.—Origin of Russian painting.—General character of the Eighteenth Century Russian painting.—Art schools.—Painters.—I. Argunov.—Alexis Antropov.—Shuvalov's Academy.—Losenko.—Rokotov.—Levitzky.—His two manners.—Borovikovsky.—Other portraitists.—Nicholas Argunov.—Shchukin.—Landscape painters.—Byelsky.—Destiny of Russian architectural painting.—Topographical engravings.—Shchedrin.—M. Ivanov.—Fyodor Alexyeyev.—Landscape painters of the old school.—Galaktionov.—Martynov.—M. Vorobyov.—Other painters of the "picturesque" school.—Alexander Bryullov.

I. I. Betzkoy, the new head of the Academy.—The second classical Renaissance.—Academies and Classicism.—Academicism and æsthetics.—Academicism and art technique.—"The Russian school of painting."—Akimov.—Ugryumov.—Yegorov, the "Russian Raphael."—Shebuyev, the "Russian Poussin."—Andrey Ivanov, the draughtsman.—F. Tolstoy and Ivan Ivanov.—Minor Academicists.

Romantic efflorescence.—Romanticism in Russian literature.—Inferiority of Russian art to Russian letters.—Echoes of Romanticism in Russian painting.—Kiprensky, the forerunner of Russian Romantic painting.—His portraits.—His decline.—Orlovsky.—His sketches.—Tropinin, the "Russian Greuse."—Karl Bryullov, the Russian Delacroix.—His youth.—Bryullov in