Page:Benois - The Russian School of Painting (1916).djvu/149

, Trutovsky, Chernyshev, and others. Their art was different from that of Venetzianov in so far as their main concern was not painting itself, but this or that subject told by means of painting. They laid the first foundation of narrative painting in Russia, and soon, repeating the evolution of the West, this was followed by realistic painting of the narrow, doctrinal type.

The so-called "tendency" took hold of almost the entire next generation of artists. Aside from the main current there remained only the faithful devotees of the Academy, as well as such artists as were, by the nature of their work, confined to a simple rendition of nature: the landscape painters and the portraitists—among the latter Zaryanko and the gifted, deft Makarov. A place apart is occupied by the magnificent, but very uneven Peter Sokolov (1818–1899). He was the only one among the artists of the period from the forties to the seventies to remain faithful to painting and its direct aims. Unfortunately, Peter Sokolov was of too loose a character, and this trait is most eloquently reflected in his works. Most of his paintings are improvised insipidity. Only some of his portraits and hunting scenes and some of his sad, typically