Ivan Constantinovich Aivasofski, who was born in 1817 at Feodosia, in the Crimea, is a painter who owes his rapid success to the fostering patron age of the government. The Czar, eager to discern art-talent wherever it could be found in his dominions, was soon attracted by young Aivasofski, who was at once pensioned, that lie might be enabled to pursue his profes sion with credit. Aivasofski has perhaps received more attention than would have been given him had he been a native of France or England, for his achievements are only of medium qualities. He is chiefly a marine and coast-painter, and has painted many pictures notable for a pleasing sentiment and a fine sympathy with nature. Among his most important works are a I Yew of Constantinople, Calm Sea by Moonlight, The Wreck of the Frigate Ingcrmanland, and a of Bertsch.
Henri Siemiradski, born at Kharkow in 1843, is one of the most promi nent and meritorious of living representatives of Russian pictorial art. He took the prix de Rome at the Academy of Moscow, which entitled him to a government pension while studying abroad. He pursued his studies both at Rome and at Munich. He has been repeatedly the recipient of medals and other honors. His field is history-painting; he has a grand style. A brilliant scheme of color, careful drawing of the figure, and excellent composition are marked features of the art of Siemiradski. We give a cut of one of his most ambitious works, which offers a favorable example of contemporary painting in Russia. It represents Nero witness ing the Martyrdom of Christians used as torches to light the imperial gar dens (pl. 63, fig. 3). The scene is of the most terrific character; the artist has admirably represented the splendors of a cruel and voluptuous court and the agonies of the dying martyrs. The canvas is some thirty feet in length, and the figures are life-size. The chief defect of the work is one not uncommon in Russian art—an overloading with details which tax the eye and the imagination and clog with a profusion of artistic riches.
Sieiniradski is himself what one might imagine the painter of such a drama to be—six feet two inches in height, massively built, his eye piercing as an eagle's, and his swarthy features fringed by a heavy black beard reach ing down to the waist.
born at Novgorod in 1S42, is a painter who shows similar abilities and a similar Asiatic taste for scenes of horror and blood. llis life has been passed with the army—not so much as a soldier as because the bent of his talents led him to study the details of warfare, and also the picturesque aspects of the far East. He has been much in the Cau casus, lie accompanied the army to Khiva, and lie was present at the siege of Plevna. It is related that on one occasion, when two Turkish prisoners were to be executed, Weretchagin obtained permission, palette in hand, to make a realistic study of the last agonies of the poor wretches. At the last moment their sentence was commuted, and it is recorded that the artist, furious over his disappointment, urged the general in charge to revoke his command and permit the execution, in order that the painter should not be balked of a fine opportunity to produce a vivid painting.
Of the more important of his compositions there may be mentioned his !Yetors, the Turks at Telisch, Uaizquished, the Russians at Telisch, Turk ish Prisoners after Plevna, Russians in the Balkans, Last Bivouac, PaIcha and his Worshippers, Beggars at Sanzareand, and the Chorus Doornis, or singing dervishes (i5/. 64, fig. I). The style of Weretchagin is strongly realistic ; he paints with power, composes with dramatic effect, and exhibits a careful appreciation of local details. His Eastern pictures have for thi's reason an historic value as representing scenes which the march of Western civilization will have rendered impossible before many years have passed. Such, for example, is the repulsive yet remarkable work called The Trophies of Uielory. The khan of Khiva is seen standing in a reflective mood on the grand stairway of his palace, gazing upon a ghastly pile of gory heads which have just been brought in from the battlefield. The splendors and the horrors of Oriental life are here brought into juxtaposition in a thoroughly dramatic manner. As a work of art the painting is admirable, while the subject selected is one that causes the beholder to shudder. Happily, American art has not yet shown an inclination to deal with the repulsive subjects which possess such fascination for some of the most talented artists of Europe.
Johann Male: Ike, history-painter, was born at Cracow, Poland, in iS3S. Ile studied in his native city, and at twenty gained the bronze medal of the Academy. In 186o he settled at Vienna. Be was called to the direc tor• of the Academy of Arts at Prague, but declined this honor in order to accept a similar position in Cracow. Matejko is an artist of great prominence and capacity, and occupies the foremost rank among modern painters of Polish history. His large canvases are crowded with well ordered figures, and his compositions show originality and excellent tech nique. As an example of his art we give The Union qf 1.569 63, fig. 41. Among his other well-known paintings are The Diet of Grodno, or the partition of Poland, and the Placing of the Bells in the Cathedral of Cracow.
Julius Benczur, born at Nyiregyhaza, Hungary, in 1844, occupies a prominent place as history-painter of Hungary. He studied under Piloty at Munich. Benczur excels as a colorist, ranking with Makart. One of the earliest of his notable productions is the Arrest of Franz Rakoczy II., Prince of Hungary, 1701 (pl. 64, fig. 2), which is now in possession of Prince Charles of Roumania. His more recent works are Hunyady's Departure ; Louis of France and his Family in the Storming of their Palace at I 'ersailles ; Louis XV. in Me Boudoir of his Mistress, Duchess Dubariy; and The Baptism of Bajk, afterward Stephen I. of Hungary.
Julius Agghazy may be cited as one of the most promising of the younger generation of Hungarian painters. He is classed as one of the school of Munkacsy; in other words, he is a realist whose works suggest the ideal while portraying the realities of life. Characteristic of this trait is his picture of the Enforced Concert (fig. 3), a serio-comic situation on a Hungarian puszta, or prairie.