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 our virginal expanses, the festal sadness of the Russian autumn, and the enigmatic call of the Russian spring. There are no human beings in his pictures, but they are permeated with the deep emotion that floods the human heart face to face with the sanctitude of the Whole. Sheer beauty of form did not move Levitan; on the contrary, "classically" beautiful views left him indifferent; they disconcerted him, as the beautiful antiques disconcerted Rembrandt. Nature's very life—all that lives and praises the Creator—that is what Levitan was after.

The most gifted and pleasing among Levitan's followers are the following: Pereplyotchikov, Yuon, Zhukovsky, Dosyekin, Kalmykov, Aladzhalov, and Vinogradov. Levitan's art exerted also a strong influence on nearly all of Kuindzhi's followers, especially on Rylov, Purvit, Rushchitz, and Fokin. The dependence of these artists on Levitan is not, however, one of servile imitation. Levitan opened their eyes, as it were,—led them out into the open and showed them the fascination of the world. The best of them then chose their own way, and began to seek in nature for motives dear to their hearts, without forgetting, however, the precepts of the master, but without turning them into stiff formulas. Anyhow, the modern spirit of individualism would not allow them to submit