The nature of the dialogue between the Peredvizhniki and West European art has been viewed largely through the prism of modernist concerns. Thus their engagement - or lack of it - with French modern- ist luminaries such as Manet and the Impressionists has been subject to much debate. Such emphasis has eclipsed the suggestive, and often creative, relationship between the Peredvizhniki and West European painters whose practice is seen as either anticipatory of or inimical to the modernist camp - to wit, Andreas Achenbach and his circle in Düsseldorf; artists of the Barbizon school; certain Salon regulars; and various Realist groupings in France, Germany and Victorian Britain.' I My intention herc is to explore the subtle connections between such artists, but not as part of any wider art historical concern to challenge the hegemony of modcrnism, for the position of Russian artists vis-ä- vis Western modernist discoursc - before, during and after the time of the avant-garde - is of ongoing concern. Rather, my aim is to question the still prevalent interpretation of the Peredvizhniki as "national" art- ists pursuing a distinctly Russian path, and to consider whether or not they can be viewed instead as part of
Experiment – Brill
Published: Jan 1, 1
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