Mstislav Dobuzhinsky in the context of Osip Braz

Anton Ažbe (30 May 1862 – 5 or 6 August 1905) was a Slovene realist painter and teacher of painting. Ažbe, crippled since birth and orphaned at the age of eight, learned painting as an apprentice to Janez Wolf and at the Academies in Vienna and Munich. At the age of 30, Ažbe founded his own school of painting in Munich that became a popular attraction for Eastern European students. Ažbe trained the "big four" Slovenian impressionists (Rihard Jakopič, Ivan Grohar, Matej Sternen, Matija Jama), a whole generation of Russian painters (Ivan Bilibin, Mstislav Dobuzhinsky, Igor Grabar, Wassily Kandinsky, Dmitry Kardovsky and Kuzma Petrov-Vodkin, to name a few), Serbian painters Nadežda Petrović, Beta Vukanović, Ljubomir Ivanović, Borivoje Stevanović, Kosta Miličević, and Milan Milovanović, the Hungarian painter Sándor Ziffer or a Czech painter Ludvik Kuba.

Ažbe's training methods were adopted by Beta and Rista Vukanović when they took over Kiril Kutlik's atelier and school and by Russian artists both at home (Grabar, Kardovsky) and in emigration (Bilibin, Dobuzhinsky).

О (О о; italics: О о or О о; italics: О о) is a letter of the Cyrillic script.

The letter most commonly represents the sound /ɔ/, like the pronunciation of ⟨au⟩ in "aura". In Russian and Serbo-Croatian, it represents the sound /o/.

Igor Emmanuilovich Grabar (Russian: И́горь Эммануи́лович Граба́рь, 25 March 1871 – 16 May 1960) was a Russian Post-Impressionist painter, publisher, restorer and historian of art. Grabar, descendant of a wealthy Rusyn family, was trained as a painter by Ilya Repin in Saint Petersburg and by Anton Ažbe in Munich. He reached his peak in painting in 1903–1907 and was notable for a peculiar divisionist painting technique bordering on pointillism and his rendition of snow.

By the end of 1890s, Grabar had established himself as an art critic. In 1902, he joined Mir Iskusstva, although his relations with its leaders Sergei Diaghilev and Mstislav Dobuzhinsky were far from friendly. In 1910–1915, Grabar edited and published his opus magnum, the History of Russian Art. The History employed the finest artists and critics of the period; Grabar personally wrote the issues on architecture that set an unsurpassed standard of understanding and presenting the subject. Concurrently, he wrote and published a series of books on contemporary and historic Russian painters. In 1913, he was appointed executive director of the Tretyakov Gallery and launched an ambitious reform program that continued until 1926. Grabar diversified the Tretyakov collection into modern art and in 1917 published its first comprehensive catalogue. In 1921 Grabar became the first professor of Art restoration at the Moscow State University.