. An illustrated and descriptive guide to the great railways of England and their connections with the Continent . ing, and accuracy of form, are capable of being brought within therange of most of us, but to appear with power as an artist a man must notonly be educated technically but have a desire to give utterance to thatsentiment which he feels strongly. The difference of temperaments, thoughts,and hopes in men, constitutes the substratum out of which is evolved theindividuality of their work. ^o ^^^i The National Gallery. -3 The subjoined engraving is from one of Gainsboroughs landscapes,
. An illustrated and descriptive guide to the great railways of England and their connections with the Continent . ing, and accuracy of form, are capable of being brought within therange of most of us, but to appear with power as an artist a man must notonly be educated technically but have a desire to give utterance to thatsentiment which he feels strongly. The difference of temperaments, thoughts,and hopes in men, constitutes the substratum out of which is evolved theindividuality of their work. ^o ^^^i The National Gallery. -3 The subjoined engraving is from one of Gainsboroughs landscapes, andis a good example of the early English school. Gainsborough has themerit of being one of the earliest students of nature, and one who was con-tent to paint that which he saw. The present picture is simple in itsaccessories, quaint in its beauty, and of great general excellence. It hasrequired some time to bring this artists work to its due position, and it isnot a little singular that during the height of his popularity as a portraitpainter his landscapes were practically unsaleable. He was the pioneer of. THE WATERING-lLACE.—GAINSBUKOUGII. a new teaching, and the fashionable public of that day were still under theinfluence of the affectation of the classic school. In com[)aring the two pictures of Gainsborough and Turner as they faceone another on the opposing pages, the difference in the character of theirwork comes out with great distinctness. Both i)ictures are clothed inevening light, which in The Watering-Place gives a subdued and tranquilsoftness to all around. It is the hour of rest unbroken by hurry or the picture of Turner, the glow of light is flung across the waters orleaps from cloud to cloud, until every point on the canvas is more or lessdistinctly under its influence. Is not this difference a growth in art itself?Is there not a higher conception of the capacity of light and a keenerrecognition of the value it can produce? It would seem as though
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Keywords: ., bookcentury1800, bookdecade1880, booksubjectrailroa, bookyear1885
