Memories of the Itinerants. “At the Traveling Exhibitions we learned about life, and in these lessons the most precious, most desirable and bright word always seemed to us to be Repin’s last creation,” Alexander Benois echoes Minchenkov. Both memoirists are representatives of the generation of young contemporaries of Repin, a generation for which Repin, long before the end of his life, became a “living classic”, the personification of Russian realism as a whole. Indeed, Repin’s art represents the quintessence of those trends and techniques of influencing the viewer that were developed in the context of realism of the second half of the 19th century - this is to a certain extent a collective image of Russian art of that time, including the genre repertoire, artistic means, and the relationship between genres.