The art of the Dresden gallery; notes and observations upon the old and modern masters and paintings in the royal collection . ing mixed on thepalette and applied in a single broad value of oneshade, it was placed in small patches, not mingledtogether, but set so cleverly and with so perfecta comprehension of the effect to be produced thatthe canvas has often, on close scrutiny, the appear-ance of a mosaic, while at a proper distance the eyeunconsciously mixes the tints for itself, and theresult is much more vital than it would be if theshades were all blended, as they used to be by mostof the
The art of the Dresden gallery; notes and observations upon the old and modern masters and paintings in the royal collection . ing mixed on thepalette and applied in a single broad value of oneshade, it was placed in small patches, not mingledtogether, but set so cleverly and with so perfecta comprehension of the effect to be produced thatthe canvas has often, on close scrutiny, the appear-ance of a mosaic, while at a proper distance the eyeunconsciously mixes the tints for itself, and theresult is much more vital than it would be if theshades were all blended, as they used to be by mostof the old masters, with a view to close inspectionchiefly. Hals, Velasquez, and Moroni used to paintdirectly and with spontaneity; the pigment lies atonce as it is intended to remain, and there are noglazings or retouchings. Most of the later paint-ers used this method also, and in the art of to-dayit is the only method employed to any extent. The decorative chalky Fishermans Family, byPuvis de Chavannes, is one of the few modernFrench pictures here. It is. more than a study ofa fishermans family, however, being symbolical of. PUVIS DE CHAVANNES. FISHERMAN S FAMILY /IDoDern (Berman /iDasters 409 the three ages of man. Puvis de Chavannes wasa true poet, but no dreamer. His was a uniquegift; he was a mystic, and yet was not subtle norinvolved. He was a great idealist, with steadynerves and a certain sane ability to portray widesimplicity. Although he was so deeply in sympa-thy with the impressionist movement, he deter-mined on his own method, and adhered to it,never being dominated by any other style. Be-fore entering any French studio, he had twicebeen to Italy. He had always a sympathy withseafaring folk, and uses them in an elemental andideal way. His feeling for harmony made him usefew colours, and those simple and broad. Hispeople have strong, well-knit bodies capable ofwork. The sentiment which one feels is neitherreligious nor pagan; it is ideally human and anewly created type
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