Page:Benois - The Russian School of Painting (1916).djvu/201

 of Kuindzhi's influence can be found perhaps in the works of Repin, Levitan, and others. But his real followers are a number of young, energetic painters, among whom it is necessary to mention here: Rylov, Rushchitz, Purvit, Gaush, and Bogayevsky. They have all, however, gone far away from the precepts of their master.

The eighties are a transitional period in the history of Russian landscape painting. At that time alongside Kuindzhi and Shishkin the following painters achieved some note: Sudkovsky, a painter of little gift; the pretentious and insipid Klever; the "Russian Düsseldorfian" Dyuker; and Orlovsky, a feeble follower of Shishkin. It is at that time also that the signs of a renascence of Russian landscape painting made their appearance. We have in mind Dubovsky's pictures, poetically conceived, but old-fashioned in execution, and the water-colour painting of Albert Benois, very plain and unsophisticated. Toward the end of the eighties the movement came to a clearer and more definite expression in the works of Ostroukhov ("Bad Weather," "Golden Autumn")—of Svyetoslavsky, who painted corners of provincial towns and the flooded roads, which are the inseparable accessory of the Russian spring—of Tzionglinsky, the ardent follower of impressionism, who devoted himself to the