The early work of Raphael . Portrait of Miss Or chard permission of W. Q. Qrckardson, Esq., THE ART OF WILLIAM QJJILLER ORCHARDSON 69 ling, by the standards we accept from the French school of the moment,we shall be driven to confess that two or three French and Franco-. Sir Walter Gilbey, Bart. American painters can beat him. The conceptions of Rembrandt areentirely personal ; his objective treatment is governed by the determina-tion to take only what coheres with his individual preferences, modified, yo THE ART OF WILLIAM QUILLER ORCHARD SON of course, by the necessity for enough
The early work of Raphael . Portrait of Miss Or chard permission of W. Q. Qrckardson, Esq., THE ART OF WILLIAM QJJILLER ORCHARDSON 69 ling, by the standards we accept from the French school of the moment,we shall be driven to confess that two or three French and Franco-. Sir Walter Gilbey, Bart. American painters can beat him. The conceptions of Rembrandt areentirely personal ; his objective treatment is governed by the determina-tion to take only what coheres with his individual preferences, modified, yo THE ART OF WILLIAM QUILLER ORCHARD SON of course, by the necessity for enough truth to prevent any suspicionof incapacity or of poor equipment in himself. Put a head by Rem-brandt, say his own head in Lord Uchesters picture, beside Carolus-Durans portrait of Pasteur. Compare them in the light of the principleson which the most important section of the French and its affiliatedschools work for the moment, and you will be staggered at the a piece of objective truth the Rembrandt will be beaten out of thefield. Its colour, illumination, and even to some extent its handlingwill be recognized as arbitrary. But, nevertheless, you will find theRembrandt stirring your imagination long after the impression made bythe Carolus has faded away. The Dutc
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Keywords: ., bookcentury1800, bookde, booksubjectraphael14831520, bookyear1895
