The higher life in art; a series of lectures on the Barbizon school of France, inaugurating the Scammon course at the Art Institute of Chicago . he word cook; I remembera statement from an important artist with regard toDiaz and Rousseau. It was a statement made to me, astudent, by my master, Couture, whose specialty, anda useful one at times, was the saying of disagreeablethings about other artists. And he, with a justice that Ishall try to explain afterward, but which was a resultof jealousy, the jealousy of a smaller man, said to me: Well, for an artist, between Rousseau and Diaz, giveme Di
The higher life in art; a series of lectures on the Barbizon school of France, inaugurating the Scammon course at the Art Institute of Chicago . he word cook; I remembera statement from an important artist with regard toDiaz and Rousseau. It was a statement made to me, astudent, by my master, Couture, whose specialty, anda useful one at times, was the saying of disagreeablethings about other artists. And he, with a justice that Ishall try to explain afterward, but which was a resultof jealousy, the jealousy of a smaller man, said to me: Well, for an artist, between Rousseau and Diaz, giveme Diaz. Rousseau is a cook sent out to market, bring-ing in everything that is there; vegetables, leg of mut-ton, carrots, all that is piled in the basket just as itcomes from Nature and that is all there is to it. It isNature, if you like. Now Diaz is a chef. Out of allthese things he makes a mess nice to the taste, and youhave not got the sense of the cook bringing in the thingsany longer. There was in this criticism a justifiableremark in the abstract, that is to say, that the render-ing, the mere copying of Nature, is not the realm of 120. DECAMPSTHE SMOKER FROM LITHOGRAPH BY J. LAURENS
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