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one. But generally it does seem most probable 1" It was that the artist feels what he must paint, what not merely
topography he must leave out, and the manner in which he that he up
set, and the must paint, without any distinct consciousness mountains that he is changing what he sees, or giving that he other than the truthful impression of the scene about, but before him.
Joshua in “To-day,” writes Amiel in his “ Journal,” the liberties
he took with we have been talking realism in painting the sun and of that poetical and artistic illusion which and the does not aim at being confounded with reality “The Deitself. The object of true art is only to charm cay of Art.”
W. J. Stillthe imagination, not to deceive the eye. When man. we see a good portrait we say, 'It is alive!' In other words, our imagination lends it life. We see what is given us, and we give on our side. A work of art ought to set the poetical faculty in us to work to complete our perceptions of a thing. Sympathy is a first condition of criticism.'
g“Painting Thus there are two ways of painting a land- does not scape, and there are two points of view from purely visiwhich the painting may be studied. The also in the artist, in the first place, may give us merely suggestive an exact likeness of the external view, well allusive,
deal in the
ble. It deals
of the can
of the spec
tator's amount of
therefore in and carefully painted as to technique; or, beyond the secondly, if endowed with the capacity to do visible proof so, the same view, but after passing through
and being influenced by his own personality, the medium the accuracy of detail and the carefulness of is a visible one and is the drawing subordinated to matters of more at the mercy importance. The observer, similarly, may
stand aloof and criticize the painting's merits comprehen- or faults from the technical or realistic stand
point, finding out the difficulties that have "Imagination and been overcome, and generally looking as it Fancy."
were from the outside. Or he may endeavour Leigh Hunt.
to enter into the spirit of the artist, and try to feel the way in which he was affected by the scene and the message he sought to give on his canvas, looking from the inside, and in sympathetic union with the artist. These are the two points of view, the objective and the subjective. It is the subjective that is of vital importance, and that has the lasting and impressive effect. We can all see the correctness of details and the technical skill of the worker for ourselves. We want great artists to show us deeper and more hidden truths.
“Nature is apparent on the surface of things. To find the man requires deeper sight,” as H. R. Poore,* A. N. A., a very interesting writer on art, well puts it. “The landscape painter becomes an interpreter of moods, his own as well as nature's, and in his selection of these he reveals himself. What he takes from nature he puts back out of himself. Does he make you listen with him to the soft, low music when nature is kindly and tender and lovable, or is his stuff of that robust fibre which makes her companionable to him in her ruggedness and strength? “ Back of the canvas that throbs
the painter is hinted and hidden, Into the statue that breathes
the soul of the sculptor is bidden.'"
“Indirection.” Richard Realf.
We therefore must come to the conclusion that when an artist is able to make us feel the
*"Pictorial Composition and the Critical Judgment of Pictures.” Henry R. Poore, A. N. A. New York: The Baker & Taylor Company. In this book Mr. Poore draws special attention to the great importance of composition in pictures. “Without good composition there can be no great picture.” After giving the different forms of composition which have gradually, and probably unconsciously, been evolved by the masters of painting, Mr. Poore continues with chapters on different subjects of great in. terest to “students and lovers of art," for whom the book is written,