It is your responsibility to determine and satisfy copyright or other use restrictions before copying, transmitting, or making other use of protected items beyond that allowed by "fair use," as such term is understood under the United States Copyright Act. The Museum does not warrant that the use of this work will not infringe on the rights of third parties, such as artists or artists' heirs holding the rights to the work. If you need a high resolution file, please fill out our online application form (charges apply). Please include caption information from this page and credit the Brooklyn Museum. You may download and use Brooklyn Museum images of this work. Works created by United States and non-United States nationals published prior to 1923 are in the public domain, subject to the terms of any applicable treaty or agreement. This work may be in the public domain in the United States. In 1901, he was nominated for the first Nobel Peace Prize. After this, Grand Duke Vladimir, the President of the Academy of Arts, began to severely criticize Vereshchagin for his "impossible subjects." Vereshchagin's works were censored in Russia and he had a difficult time selling them in Europe. By the turn of the century, he was famous for his "war against war" and his work was cited and debated by peace activists and politicians. Consequently,later that year when the Grand Prince was in Paris, Vereshchagin refused to see him or let him see his paintings. Thousands died. The paintings were so displeasing to the Russian military and those closely tied to the monarchy that the Grand Prince refused to see them when they were exhibited in Moscow in 1879. Yes, Vasily Vereshchagin's depictions of the negative, rather than the heroic, aspects of war found him in opposition to the Russian state for most of his life. This painting and the one next to it were both painted from his personal observations of a horrific event during the Russo-Turkish War (1877-78). After the Russian army sacked the city of Plevna in northern Bulgaria, they marched thousands of Turkish soldiers to Russian prisoner-of-war camps on the Danube River in the dead of winter. The artist witnessed the devastating Russo-Turkish war of 1877 and was deeply affected by the loss of life on both sides. Vereshschagin's picture conveys a message about the nature of warfare. The paintings by Vasily Vereshchagin and Boris Anisfeld both draw attention to the vastness of the Russian Empire's landscape and the powerful impact of the elements. Vereshchagin shows the ferocity and bleakness of winter in the fields of Bulgaria. In Anisfeld’s canvas, painted from the Aiou-Dagh Mountain in the Crimean Peninsula, the artist introduces a new aerial viewpoint emphasizing the clouds and reducing the battleship below to a tiny object in the vast sea. Large-scale landscapes seen from unusual perspectives were a popular genre in Russia at this time. This wall is devoted to Russian modern art and features thirteen paintings spanning 100 years. The diversity of their scale, subject-matter, and style is a tribute to the dramatic aesthetic and political changes taking place in Russia, and across Europe, during the late-19th and early-20th centuries.
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