. Japan, a record in colour . uality of some of the the most part they were the same pigments, thesame high lights, and the same deep shadows; andmentally seeing this procession of pictures pass beforeme, I could not avoid seeing how grievously alikeEuropean pictures were. I had in some sort, indeed,felt this before, and was delighted on having the im-pression fixed, so to speak, by the Japanese master. I saw a number of Japanese pictures, and I certainlyfound them far more individual than our work is. Wesay these Japanese works are insipid, out of perspective,and all pretty much the
. Japan, a record in colour . uality of some of the the most part they were the same pigments, thesame high lights, and the same deep shadows; andmentally seeing this procession of pictures pass beforeme, I could not avoid seeing how grievously alikeEuropean pictures were. I had in some sort, indeed,felt this before, and was delighted on having the im-pression fixed, so to speak, by the Japanese master. I saw a number of Japanese pictures, and I certainlyfound them far more individual than our work is. Wesay these Japanese works are insipid, out of perspective,and all pretty much the same. Here is a painter ofJapan who brings a similar charge against our muchmore complex pictures—this, surely, is a new and avaluable lesson, full of suggestion for the thoughtfulpainter! Kiyosai next began to discuss drawing, and, as he wasspeaking to an Englishman, English drawing in parti-cular. I hear that when artists in England are paint-ing, he said, if they are painting a bird, they stand 64 THE STALL BY THE BRIDGE. Painters and their Methods that bird up in their back garden, or in their studio, andbegin to paint it at once, then and there, never quitedeciding what they are going to paint, never thinkingof the particular pose and action of the bird that is tobe represented on the canvas. Now, suppose that birdsuddenly moves one leg up—what does the Englishartist do then ? He could not understand how anEnglish painter could paint with the model before naturally told him that they copied what they saw;that they got over the difficulty as best they could. I do not quite understand that, he said. In my ownpractice I look at the bird; I want to paint him as heis. He has got a pose. Good ! Then he suddenlyputs down his head, and there is another pose. The barefact of the bird being there in an altered pose wouldcompel me to alter my idea; and so on, until at last Icould paint nothing at all. I asked him what, then,was his method. I watch my bird, he replied, andth
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Keywords: ., boo, bookcentury1900, bookdecade1900, booksubjectart, bookyear1901
