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 was more conscious and influential, and his preaching bolder, more concentrated, and sustained. It is significant that Vereshchagin is the Russian painter who has achieved the greatest popularity outside of his country. He treated Russian themes from the viewpoint of a man of Western culture—in fact, from the viewpoint of a citizen of the world. There is not a trace in his painting of naïve nationalism, of a stubborn and stupid tendency to set himself apart from the rest of the world, characteristic of many of his contemporaries. Vereshchagin was a typical Russian nobleman, a man of broad views, of an open intellect, of an innate nobility of intentions, and absolutely alien to petty and narrow patriotism.

Unfortunately, this aristocratic trait in the character of Vereshchagin loses all its importance as soon as we turn to the study of his works. And this is very characteristic of the Russian painter. Vereshchagin was a "European" in his entire programme, in all his projects, but as far as execution is concerned he remained a barbarian. The fact that he belonged to the upper class did not save him. Naturally, he could not acquire correct views of art by associating with people of his circle, who, as a rule looked upon art with little more than contempt and perplexity. Even less could he gain as an artist by associating with his