BALKAN STATES Until quite
See also:recent times the Balkan States had no
See also:part at all in the
See also:history of
See also:art . But at the
See also:Exhibition of 19o0 it was noted with surprise that even in soutl;-eastern
See also:Europe 518 there was a certain pulsation of new
See also:life . And there were also signs that
See also:painting in the Balkans, which hitherto had appeared only as a reflex of Paris and
See also:Munich art, would ere long assume a definite
See also:national character . At this Exhibition Bulgaria seemed to be the most backward of all, its painters still representing the
See also:manners and customs of their
See also:country in the
See also:style of the illustrated papers . Market-places are seen, where
See also:women with
See also:golden chains,
See also:half-nude boys and old Jews are moving about; or cemeteries, with orthodox
See also:clergy praying and women sobbing; military pageants,
See also:wine harvests and
See also:horse fairs, old men performing the national dance, and topers jesting with
See also:brown-eyed girls . Such are the subjects that Anton Mittoff,
See also:Ulrich and Jaroslav Vesin paint . More
See also:original is Mvkuicka . In his most important
See also:work he represented the
See also:late princess of Bulgaria sitting on a
See also:solemn and stately, in the background mosaics
See also:rich in gild, tall slim lilies at her side . In his other pictures he painted Biblical landscapes, battlefields wrapped in sulphurous
See also:smoke, and old Rabbis—all with a certain uncouth barbaric power . The Bulgarian painters have not as yet arrived at the aesthetic phase . One of the best among them, who paints delicate
See also:green landscapes, is Charalampi Ilieff; and
See also:Nicholas Michailoff, at Munich, has executed pictures, representing
See also:nymphs, that arrest
See also:attention by their delicate
See also:tone and their beautiful colouring . Quite
See also:modern was the effect of the small Croatian-
See also:Slavonic Gallery in the Exhibition .
Looking at the pictures there, the visitor might imagine himself on the
See also:banks of the
See also:Seine rather than in the East . The French saying, "Faire
See also:Whistler, faire des Dagnan, faire des Corriere," is eminently applicable to their work . Vlaho Bukovak, Nicola Masic, Csiks and Medovic all paint very modern pictures, and in excellent taste, only it is surprising to find upon them Croatian and not Parisian signatures . Precisely the same
See also:judgment must be passed with regard to Rumania . Most of the painters live in Paris or Munich, have sought their inspiration at the feet of the advanced masters there, and paint, as pupils of these masters, pictures just as
See also:good in taste, just as cosmopolitan and equally devoid of character .
See also:Irene Deschly, a
See also:pupil of
See also:Carriere, illustrates the songs of
See also:Francois Coppee; Verona Gargouromin is devoted to the pale symbolism of Dagnan-Bouveret . Nicolas
See also:Grant paints bright landscapes, with
See also:apple trees with their
See also:pink blossoms, like Darnoye . Nicolas Gropeano appears as the
See also:double of Aman-
See also:Jean, with his
See also:female heads and pictures from
See also:fairy tales .
See also:Olga Koruca studied under Puvis de Chavannes, and painted
See also:Cleopatra quite in the tone of her
See also:master . A landscape by A . Segall was the only work that appeared to be really Rumanian, representing thatched huts .
See also:Servia is in striking contrast to Rumania .
No trace of moderninfluence has penetrated to her . There
See also:historical painting, such as was in vogue in France and Germany a generation ago, is the
See also:order of the
See also:day . Risto Voucanovitch paints his scenes from Servian history in brown; Paul Ivanovitch his in greyish plein-air . But in spite of this pate painting, the latter's
See also:works have no modern effect—as little as the sharply-
See also:drawn small landscapes of his
See also:brother Svatislav Ivanovitch . (R .
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