Vereshchágin in Vienna · He does the honors at his exhibition · “All Quiet before Plevna” · “Apotheosis of War” · Moltke standing before this picture · A picture of what Vereshchágin himself had seen during the war and painted · Concerning a picture which he could not paint · Further reminiscences of his military life · His Napoleon pictures · A remark of William II regarding them · War and hunting
Now I will tell about Vasíli Vereshchágin. When I learned that the great Russian painter, who was battling with his brush against the same foe that I was fighting with my pen, was staying in Vienna, where he was exhibiting a number of his pictures, I hastened to the city to see those celebrated paintings,—“All Quiet before Plevna,” the “Apotheosis of War,” and all those other variously named indictments of war. Even in the titles that he gave his pictures the artist expressed the bitterness which, next to the pain, animated his brush. The sentinel forgotten in the wilderness of snow, standing there until the drift reaches half to his breast,—that was what Vereshchágin’s genius saw back of the generals’ well-known dispatch, “All quiet before Plevna”; and a pyramid of skulls surrounded by a flock of flapping ravens,—thus he depicted the “Apotheosis of War.”
Even before I had managed to get to the exhibition, I received a note from the painter inviting me to come to the studio on a certain day at ten o’clock in the morning; he would be there and would himself do the honors. We were on hand punctually, My Own and I. Vereshchágin received us at the door. He was of medium height, and wore a long gray beard; full of animation and fluent in speech (he spoke in French), he had a passionate nature subdued by irony.
“We are colleagues and comrades, gracious lady”; such was his greeting. And then he led us from picture to picture, and related how each came to be painted and what idea was in his mind as he worked. At many of the paintings we could not suppress a cry of horror.
“Perhaps you believe that is exaggerated? No, the reality is much more terrible. I have often been reproached for representing war in its evil, repulsive aspect; as if war had two aspects,—a pleasing, attractive side, and another ugly, repulsive. There is only one kind of war, with only one end and aim: the enemy must suffer as much as possible; must lose as many as possible in killed, wounded, and prisoners; must receive one blow after another until he asks for quarter.”
As we stopped in front of the “Apotheosis of War,” he called our attention to an inscription in small Russian letters near the border of the picture.
“You can’t read that; it is Russian and means, ‘Dedicated to the Conquerors of the Past: the Present and the Future.’ When the picture was on exhibition in Berlin, Moltke stood in front of it. I was by his side, and I translated the words for him; the dedication was a dig at him too.”
Another painting represented a road buried in a thick covering of snow, with here and there hands or feet sticking out of it.
“What in heaven’s name is that?” we cried.
“No work of the imagination. It is actual fact that in winter, both in the last Turko-Russian war and during other campaigns, the road along which the regiments were passing was covered with corpses; one who had not seen it would find it hard to believe. The wheels of the cannons, the tumbrels and other wagons, would crush the wretched men, still living, down into the ruts, where the dead bodies were deliberately left that the road might not be injured; and they were pressed way down under the snow, only the protruding legs and arms showing here and there that the road was a thickly populated graveyard....”
“I understand,” said I, “that you were blamed for depicting the most horrible things that you saw.”
“The most horrible? No. I found much dramatic material from which I absolutely recoiled, because I was utterly unable to put it on the canvas. For instance, I had the following experience: my brother,[1] who was an aide to General Skobelef, was killed during the third assault on Plevna. The spot where he fell was held by the enemy, so I could not rescue his body. Three months later, when Plevna was in our hands, I went to the place and found it covered with bodies,—more correctly, with skeletons; wherever I looked I found skulls grinning at me, and here and there skeletons still wearing shirts and tattered clothes. They seemed to be pointing with their hands somewhere into the distance. Which of these was my brother? I carefully examined the tatters, the configuration of the skulls, the eye sockets, and I couldn’t stand it; the tears streamed from my eyes, and for a long time I could not control my loud sobbing. Nevertheless, I sat down and made a sketch of this place, which reminded me of Dante’s pictures of hell. I wanted to produce such a picture, with my own figure searching among all those skeletons—impossible! Again, a year later, two years later, when I began on the canvas, the same tears choked me and prevented me from proceeding; and so I have never been able to finish that picture.”
I am warranted in saying that I am repeating Vereshchágin’s own words, for I urged him then and there to incorporate in an article what he had just told me, and send it to me for my monthly periodical. He granted my wish, and in the seventh and eighth issues of Die Waffen nieder for 1893 Vereshchágin published these reminiscences and many others besides.
“In order to get a clearer idea of what war is,” continued Vereshchágin, “I made up my mind to be an eyewitness of the whole thing. I participated in an infantry charge on the enemy, and, as it happened, I led the attack. I have been in a cavalry skirmish and victory, and I have been with the marines on board of a torpedo boat in an attack on great ships. On this last occasion I was punished for my curiosity by a severe wound, which almost sent me to kingdom come, to continue my observations there.”
Well, we know to-day that it was indeed his fate to be dispatched into the next world by a Japanese mine. Almost the first news that startled the world at the time of the Russo-Japanese War was that of the sinking of the ironclad Petropavlovsk, which ran on a mine. Vereshchágin, pencil in hand, was on board, sketching. A shock, a cry of anguish from eight hundred throats, and down into the depths sank ship and crew! Vereshchágin’s intention was to observe and depict the events of the most modern of wars—what would those pictures have turned out to be? Perhaps it would have been as impossible to finish them as it was to reproduce the scene at Plevna. There are horrors which incapacitate the artist’s hand or darken the observer’s mind. The Russo-Japanese War brought the general madness to a head. Vereshchágin’s vibrant artist spirit would perhaps have been the first to become mad if he had ever tried to paint the scenes which have been enacted on barbed wire and in wolf-pits (trous-de-loup).
A few years later—let me here complete my personal recollections of Vereshchágin—I met him a second time. He was giving in Vienna an exhibition of his series of Napoleon pictures. It is said that Emperor William II, on seeing one of these paintings, remarked to him: “With these, dear master, you are battling against war more effectually than all the Peace Congresses in the world.”
Nevertheless, I believe that the artist’s intention was not in the least to engage in that sort of battle. He wanted to be true. He did not hate war at all; he found in it the excitements of the chase.
“I have many times killed men in battle,”—these are his own words,—“and I can say from experience that the excitement, as well as the feeling of satisfaction and contentment, that comes after killing a man is precisely like the sensation which comes when one has brought down uncommonly large game.”