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 Repin's weak point, his inability to present famous historical persons and to render the flavour of the epoch—as betrayed by his "Sofya," "Don Juan" or "St. Nicholas"—had no occasion to show itself here. In the "Cossacks" everything was dictated by reality. A few historical details are made use of for the sole purpose of intensifying the colour effects.

Repin's historical paintings were, we repeat, inconsistent digressions in his art. This remark may be properly applied to Perov's historical canvases, to the works of Jacobi, Vereshchagin, and Kramskoy, and, finally, even to such pictures of Gay as "Catherine II at the Bier of Queen Elizabeth," or his "Pushkin." All these facts point to the conclusion that the representatives of the art of the sixties lacked firm foundation. But as early as the seventies alongside these artistic phenomena, another current made its appearance in Russian painting. Although it, too, chose history as its subject, it was based on different principles. It is by way of historical painting that Russian art passed from narrow, doctrinal realism to free creative efforts. Of course, the pictures of Repin, Polyenov and even those of K. Makovsky may be looked upon as signs of this evolution. But the art of these painters presents only faint reflections: other masters were to give genuine expression to the new spirit.