. Fifty years of modern painting, Corot to Sargent . bing subject, not merely to find a setting for figure-subjects. On the outskirts of the forest of Fontainebleau,in the village of Barbizon, Corot, Rousseau, Diaz, andothers lived the simple life from spring until the wintercame, painting amid the immemorial oaks and chestnuts andbeeches of the forest, and each of them interpreting naturein his own way. Of the Barbizon group Corot and Millet—the latter didnot join it until 1849—have exercised the deepest influenceon the after course of art; but it will be well for us to glanceat the work of s
. Fifty years of modern painting, Corot to Sargent . bing subject, not merely to find a setting for figure-subjects. On the outskirts of the forest of Fontainebleau,in the village of Barbizon, Corot, Rousseau, Diaz, andothers lived the simple life from spring until the wintercame, painting amid the immemorial oaks and chestnuts andbeeches of the forest, and each of them interpreting naturein his own way. Of the Barbizon group Corot and Millet—the latter didnot join it until 1849—have exercised the deepest influenceon the after course of art; but it will be well for us to glanceat the work of several of its most important members; forthough it is with later generations of painters that we arechiefly concerned here, not merely the influence, but muchof the work, of the Barbizon school, comes within our specialperiod. Were there no external evidence for the influence ofConstable upon these painters, the internal evidence ofsome of the early work of Rousseau, in the Thomy-Thi^rycollection at the Louvre, would be sufficiently convincing;. THE IMPRESSIONISTS AND THEIR ALLIES 63 and all through his work, at any time of his career, it isdifficult not to think of the vigorous naturalism of theSuffolk painter. Rousseau, like Constable, painted natureas he saw it; not merely as he saw it with the physicalsight, giving a mere objective record, but as he saw it; ashis temperament, his thought about nature, necessitated hisseeing it. But it was nature that he painted. He did notgo out to find material for pictures. He went out to be incommunion with nature; and his pictures tell us whatnature was to him. It is not of nature, whether as a greatevolutionary epic, or in her lyrical moods, that Ave think,when looking at the works of the classical landscapepainters. They present to us a wholly unreal world, notthe real one, too rough and untidy for ladies and gentlemento walk through on fine days without injury to tender feetand dainty costumes. Rousseaus world is the forest andth
Size: 1318px × 1896px
Photo credit: © Reading Room 2020 / Alamy / Afripics
License: Licensed
Model Released: No
Keywords: ., bookcentury1900, bookdecade1900, bookpublish, booksubjectpainting
