the title of Academician), daily life scenes, portraits and many Normandy’s landscapes. When he returned from his trip, he made a decisive statement for his career: "There, I tried all kinds of painting [...], and I came to the conclusion that I have mostly talent for landscapes and scenes of everyday life, which I will exploit in the future. " In the summer of 1874, Ilya Repine and Vasily Polenov followed the advice of their preceptor Bogoliubov and went to Normandy in quest for spontaneous impressions. There, they would mainly work outdoors, according to the influence of the Barbizon School. They spent several months in the company of other Russian artists in Veules-les-Roses, a setting combining cliffs by the sea and countryside. He completed his European work by returning to Paris, devoting himself to historical subjects after this momentous period of his career dedicated to Norman landscapes. In the late 1870s, Polenov concentrated on painting following the realist tradition of Aleksey Savrasov and Fyodor Vasilyev. He attempted to impart the silent poetry of Russian nature, related to daily human life and his paintings generally reflect his sensitivity and delicacy, combining harmony and appeasement but also nostalgia. Vasily Polenov's European residential school ended prematurely because he took part in the Russo-Turkish War (1877-1878) as a war artist. The Wanderers’ movement and the Abramtsevo Circle During the 1880s, his work was spotted by Vladimir Stassov, a supporter of the traveling exhibition society (the Wanderers), which he joined then. This artistic movement was born from the desire to break with the themes imposed by the Academy to better represent contemporary concerns. In addition, the members promote the accessibility of art among the people by organizing traveling exhibitions (not limited to the artistic centers of Moscow and St. Petersburg). Through their eminently realistic painting, they seek to denounce the living conditions of the Russian population and to promote greater literacy. His works won the admiration of Pavel Mikhailovich Tretyakov, who acquired many of them for his gallery. He was one of the first Russian artists who achieved a plein air freshness of color combined with artistic finish of composition (The Moscow courtyard, 1878; The Grandmother's garden, 1878; Overgrown pond, 1879). The principles developed by Polenov had a great impact on the further development of Russian (and especially Soviet) landscape painting. He also began to attend retreats of the Abramtsevo circle. The name comes from