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tatters, is admirable. He is fond of subjects like the
departure of the recruits, the simple, every-day scene
frequently met with; the young man’s departure from
family and home; or like “The Return of the Exile,” a
picture which never ceases to be thrilling from its very
simplicity. The look cannot be forgotten which the
mother and sister, astonished and half frightened, not
yet glad, cast upon the emaciated young form, in the
sorry clothes, which silently glides in through the door.
The profound sympathy in this art veils the remorselessness
of the realistic representation.
There is in Russia at present only one eminent sculptor,
who is of equal importance with these painters, and
that is Antopolski, one of the few men of Jewish descent
who have made themselves known in the history of
sculpture. He passed his youth in great poverty, and
was learning the trade of shoemaker in St. Petersburg
when his talent was brought to light. Baron Günzberg,
the rich and genial banker of St. Petersburg, took an
interest in and supported him, until, quickly enough, he
was able to support himself by his art. After having
been a long time in Rome, he is now a resident of Paris
and enjoys a European reputation.
Antopolski’s “Christ” may, perhaps, be remembered
from Julius Lange’s “Art of Sculpture.” Bound, with
his feet joined close together, Christ is presented to the
people in a form executed with a melancholy realism, in
the costume of the time, with broad sandals under his
feet, his hair fast bound to his brow by sweat under the
burning sun, — an earnest and truly Jewish type. He
looks a little down before him, but the look is
contemplative; he accepts with manly firmness the ignominy
that the cry of the populace prefers Barabbas to him.
There is a Russian stoicism in this look.
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