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 to attract attention to the peculiarities of Russian life. Of course, these masters, such as Leprince, Geissler, Damame, Atkinson, and others were not realists in the true sense of the term. The motive of their artistic efforts was not the desire to depict the charm of everyday life; what they recorded was the peculiarities they noticed in the curious Russian customs and manners. At any rate, they attracted the attention of RussainRussian [sic] society to the colourfulness and picturesqueness of the folk-life. A few Russian masters followed in their steps: under Catherine II—the curious, neglected Yermenyev, also Tankov, Mikhail Ivanov and the sculptor Kozlovsky; later on: Martynov, Alexandrov, partly Orlovsky, who has already been discussed, Karnyeyev, and the illustrators: Galaktionov, I. Ivanov, Sapozhnikov, and others. The most interesting among these artists is Tankov (1739–1799). He attacked complex themes, like "The Fair," "The Village Fire," and mastered them quite successfully by means of reminiscences of Dutch and Flemish paintings.

The first genuine Russian realist was, without a doubt, Alexyey Venetzianov (1779–1847), one of the most striking figures of the Russian school. As he did not become a professional painter until late in life, he escaped the levelling influence of the Academy. The