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 the most well-intentioned social movement. Art must remain self-sufficient, above all it must seek for its own God, who is but a distinctive revelation of "Universal Divinity," Then the rest will naturally be added to art. Only an art, self-sufficient, but unified for a common purpose, only a school, both as technique and as ideas, can bear fruits of beauty, which will be worthy of those borne by the famous "schools" of former ages, and even surpass them in nutritive powers and in fascination. It is hardly necessary to insist, however, that these wishes are helpless in the face of life's decrees, and that the future of Russian art depends upon the unrevealed destinies of the Russian nation.

Considerations of space compel us to give only a very brief sketch of the contemporary state of Russian painting,—that is, to enumerate and characterise those artistic personalities which are at present looked upon as most prominent, interesting, and valuable. Most of them must be considered as wholly independent phenomena, and we observe but rarely a certain involuntary influence on the part of the stronger artistic personalities, or a certain external grouping.

We have spoken already of Vrubel, as of Ivanov's sole worthy heir. But Vrubel's connection with Ivanov manifested itself only in his early religious