Page:Benois - The Russian School of Painting (1916).djvu/229

 in them the same infinite love for Russia's virginal rolling expanses, for her dear withered vegetation, the same "cult" of grass, bushes, birch-trees, buds, and field flowers. A peculiar charm is added to her pictures by the delight she takes in the past. In Levitan this motive is rare, and is not present in his best productions. Mary Yakunchikov, who for many years lived on an ancient estate near Moscow, entertained something like an adoration for the whole mode of living of the old country squires, and this adoration little by little spread to all the things of the dead past. She was moved to an equal degree by wretched crosses on village churchyards, by half-ruined cloister belfries, by empty rooms with furniture in summer covers, by the solemn walks of Versailles, and by the deserted "Cherry Orchards."

Grabar, who had spent many years studying painting in München and Paris, returned to Russia four years ago (1900). Until then none of his works had appeared anywhere. He seems unable to find himself. Now he attacks themes bequeathed by Mary Yakunchikov, and renders the melancholy charm of deserted "Noblemen's Nests"; now, like Syerov, he paints landscapes replete with delicate country moods; now again, following the example set by Korovin, he