. St. Nicholas [serial] . s of this little river one, a loving record of something intimatelyfamiliar; the other,an amazing vision ofthe imagination. Tur-ners was painted in1829—one of the finestworks of this master,who is a solitary figurein landscape art, al-most unapproachedby others. Constablespicture appeared sixyears later—an excel-lent example of thepainter who may beregarded as the fatherof modern landscape. TheValley Farmitself is on the riverStour in the county ofSussex, England, nearthe mill at East Berg-holt where Constablewas born; for he, likeRembrandt, was amillers son. It is ac
. St. Nicholas [serial] . s of this little river one, a loving record of something intimatelyfamiliar; the other,an amazing vision ofthe imagination. Tur-ners was painted in1829—one of the finestworks of this master,who is a solitary figurein landscape art, al-most unapproachedby others. Constablespicture appeared sixyears later—an excel-lent example of thepainter who may beregarded as the fatherof modern landscape. TheValley Farmitself is on the riverStour in the county ofSussex, England, nearthe mill at East Berg-holt where Constablewas born; for he, likeRembrandt, was amillers son. It is acharacteristic bit ofEnglish scenery, notgrand or romantic;just a tiny bit of a lit-tle country, so home-like that those wholove it, as Constable did, get to have a companionship with every de- that he strayed in boyhood; whither, too, hetail, learning to know the line of its hills, the came back, after he had been studying in Lon-winding of its streams, and the position and don at the schools of the Royal Academy, and. THE VALLEY FARM. BY CONSTABLE. HOW TO STUDY PICTURES. 807 copying the pictures in the galleries, especiallythose of Hobbema and Ruisdael. But he soontired of looking at nature through the eyes ofother men. There is room enough, he wroteto a friend, for a nature-painter. Painting iswith me but another name for feeling; and Iassociate my careless boyhood with all that liesupon the banks of the Stour; those scenes mademe a painter and I am thankful. This is thekind of spirit which, we have seen, inspired theDutch landscape-painters of the seventeenthcentury; and, indeed, their love of nature wasreborn in Constable. For in the lapse of time r™ ~ pictures—that the clouds might move and over-hang the spot, that its atmosphere might pene-trate every part of the scene, and that trees andwater, and the very plants by the roadside,might move and have their being in it; andsecondly, he put his own personal affection intohis representation. Then, too, in the matter o
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