The early work of Raphael . t last,and settled down—in his own belief, poor man !—to the quietude of gooddinners, good wines, and a handsome wife, with nothing exciting to thinkabout for the rest of his days but the monthly checking of his bank-book,is a not uncommon sight. Every one understands it when they see it, and,happily for the peace of the world, the discontent perceptible on the faceof Orchardsons heroine develops into a shattering of all these comfortablearrangements with less frequency than one might expect. This pictureshows all Orchardsons usual judgment. The proportions between
The early work of Raphael . t last,and settled down—in his own belief, poor man !—to the quietude of gooddinners, good wines, and a handsome wife, with nothing exciting to thinkabout for the rest of his days but the monthly checking of his bank-book,is a not uncommon sight. Every one understands it when they see it, and,happily for the peace of the world, the discontent perceptible on the faceof Orchardsons heroine develops into a shattering of all these comfortablearrangements with less frequency than one might expect. This pictureshows all Orchardsons usual judgment. The proportions between thefigures and the canvas, the placing of the table furniture, the oppositionof the two men to the one woman—put the butler beside the lady andyou ruin the composition—are all right; that is, they work activelytogether towards the winning of unity, while the pattern of the chiaro-scuro and the envelope of atmosphere and colour fall smartly into linewith the rest. The alertness of the painters fancy is illustrated by. Study for Mariage de permission of W. O. Orckardson, Esq., THE ART OF WILLIAM QUILLER ORCHARDSON 59 a curious device, which breaks the monotony of the background, andhelps to keep it in its place. A shaded lamp stands in the middle of
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Keywords: ., bookcentury1800, bookde, booksubjectraphael14831520, bookyear1895
