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 . a, z §5 §. FIFTH LECTURE pictures which were nothing but the result of muchknowledge, and were understood receipts, not differingfrom ever so many of the fairly great men, and thenagain, putting aside all questions of interests, of hismoney interests, he attacked new problems of extremedifficulty, spending months, extending into years, forelaboration, rehandling, and changing the problems. He is known to have absolutely painted in a new wayworks which
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 . a, z §5 §. FIFTH LECTURE pictures which were nothing but the result of muchknowledge, and were understood receipts, not differingfrom ever so many of the fairly great men, and thenagain, putting aside all questions of interests, of hismoney interests, he attacked new problems of extremedifficulty, spending months, extending into years, forelaboration, rehandling, and changing the problems. He is known to have absolutely painted in a new wayworks which were already among the most remarkablestudies of Nature that modern art has given. One casethat I recall was caused by his sudden introduction tothe question brought up by the ordinary little Japaneseprints that you know, the extreme luminosity obtainedby a few flat, clear colours, and by their relation oneto another, so that the mere quality of the tone and itsbelonging to one or other of what we call divisions ofwhat we call colour, that is to say, that a red, placedin a sky of a certain value, not too deep, is forced atonce into the background a
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