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 prevail. In Russia Korovin was taken, by misunderstanding, for an Impressionist; yet in his propensity to bitumen and "patina" effects he is just the reverse of the Impressionists with their quest for light. Korovin is a genuine colourist, that is, a painter not only able to render correctly the colours of nature, but also enamoured of the beauty of colours. Korovin's pictures and panels often delicately render an effect grasped by the painter in nature, but, in addition, even when they boldly depart from nature, their colours are beautiful. In those of Korovin's works which are most fantastic there is always high truth, i. e., harmony, well sustained style, and organic unity. With regard to the technique of his painting, too, Korovin stands by himself. His brush is fascinatingly nonchalant and the combinations of his colours are rich and give the effect of enamel work.

The historian of Russian painting cannot refrain here from expressing a fervent wish that a change may occur in Korovin's life, which would restore to us the former Korovin, which would allow him to create heartfelt works instead of dragging the chains of bureaucratic drudgery. Korovin—is by his nature the absolute negation of everything balanced, moderate, and dully conventional—and yet he has been for many years now an "official painter," the decorator of the