Unless I'm very much mistaken, we're going to have a lively
evening."
Well, and then we shook hands all round, and went in, and bolted the
door, and sat down to wait. We heard the death chant through the walls
now, for it was coming nearer.
(_To be continued._)
[Illustration]
[Illustration: A BROOK IN THE DEPARTMENT OF VAR, FRANCE. FROM A
PAINTING BY HENRI HARPIGNIES.
In the galleries of the Luxembourg, Paris. First exhibited at the
Salon of 1888.]
A CENTURY OF PAINTING.
NOTES DESCRIPTIVE AND CRITICAL.--COROT AND THE MODERN PASTORAL.--THE
MEN OF 1830.--ROUSSEAU, DIAZ, DUPRE, AND DAUBIGNY.--FOUR FIGURE
PAINTERS OF DIFFERING AIMS.
BY WILL H. LOW.
"Pictures?" boasted Turner. "Give me canvas, colors, a room to work
in, _with a door that will lock_, and it is not difficult to paint
pictures!" This was the spirit of the older men, against which
Constable rose in his might. It was the legacy of the past; the
principle, or the lack of it, which permitted Titian (in a picture now
in the National Gallery, London) to paint the shadows of his figures
falling away from the spectator into the picture, and _towards_ the
setting sun in the background. The return to nature, however, was not
accomplished at once. It is doubtful, indeed, if a painter can ever
arrive at a respectable technical achievement without imbibing certain
conventions which prevent complete submission to nature; absolute
_naivete_ thus becoming only theoretically possible.
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