Perfect art

"" "" The second half of the 19th century in the history of Russian fine art was traditionally seen as the struggle of progressive democratic forces (Wanderers) with reactionary, obsolete, academic. The basis for such a contrast was the judgments of contemporaries of those distant events: the statements of I. N. Kramsky, the fiery articles of V.V. Stasov, whose peremptory characteristics were adopted by Soviet researchers. In the minds of many subsequent generations, the entire second half of the 19th century was associated with the era of the Wanderers, so it might seem that there was no other art except the art of the Wanderers at all. And if it was, then it did not deserve serious mention, especially study. Meanwhile, the number of works shown at academic exhibitions was several times over what was demonstrated on the mobile. A remark of the conference secretary of the Academy of Arts P.F. Isaev: "" ours (academic. - E. N) The exhibitions gave a fee of up to five thousand rubles, and their (Wanderers. - E) - less than three thousand "" "1 -ties the real state of things, although it testifies to the jealous attitude of the Academy to the artists opposed to it. In fact, both of the other expositions had their spectators, and the masters presented there - passionate fans. A comparison of the results of their activities was suggested by itself, but for painters - participants in this confrontation, the dispute about the superiority of the mobile or academic aesthetic platform was much more acute and fundamental than for the audience who attended both expositions. "" ""