. International studio. LVCUKGUSV»ECOKATION FOR UALTIMORli COURT HOUSE BY JOHN LA FARGE XC. THE DINING-ROOM AT OFFRAN- VILLE. F«OM THE OIL PAINTING BY JACQUES EMILE BLANCHE. T Modern Inierior Painting HE PROBLEM OF MODERNINTERIOR PAINTING. BYT. MARTIN WOOD The man of genius is not fastidious. Far fromsearching with pain for beauty, he cannot escap)eits presence until he goes blind And the paradoxis not to be rejected that the same scene is adifferent one for every painter, confronting himwith his own problems, and above all assumingthe complexion of his mind, whether classic orcommon-place. If
. International studio. LVCUKGUSV»ECOKATION FOR UALTIMORli COURT HOUSE BY JOHN LA FARGE XC. THE DINING-ROOM AT OFFRAN- VILLE. F«OM THE OIL PAINTING BY JACQUES EMILE BLANCHE. T Modern Inierior Painting HE PROBLEM OF MODERNINTERIOR PAINTING. BYT. MARTIN WOOD The man of genius is not fastidious. Far fromsearching with pain for beauty, he cannot escap)eits presence until he goes blind And the paradoxis not to be rejected that the same scene is adifferent one for every painter, confronting himwith his own problems, and above all assumingthe complexion of his mind, whether classic orcommon-place. If Charles Lamb had been a painter I think hewould have been an interior painter,—he had thegenius for being indoors. And yet something ofthis genius, this sense that indoors the world isquite different from what it is out-of-doors, countstoo in the constitution of a landscape painter : forto whom does nature offer such a cup as to himwho steps out into the sunlight from a room?But with the sun coming through the window we are conscious that nature enWrons us indoors asmuch as out, tra
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