. Frank Brangwyn and his work. 1911 . he quantity of details ; it isthe truth of the whole. If your picture contains exquisite detail, equal from one end of t>ecanvas to the other, the spectator will look at it with indifterence. Everything interestinghim alike, nothing will interest him very much. There will be no limit. Your picturemay prolong itself indefinitely ; you will never reach the end of it. You will never havefinished. The whole is the only thing that is finished in a picture. Strictly speakhif;,you might do -without colour, but you can do iiothing wthout harmony. Millet sharedt
. Frank Brangwyn and his work. 1911 . he quantity of details ; it isthe truth of the whole. If your picture contains exquisite detail, equal from one end of t>ecanvas to the other, the spectator will look at it with indifterence. Everything interestinghim alike, nothing will interest him very much. There will be no limit. Your picturemay prolong itself indefinitely ; you will never reach the end of it. You will never havefinished. The whole is the only thing that is finished in a picture. Strictly speakhif;,you might do -without colour, but you can do iiothing wthout harmony. Millet sharedthese views, which have much in common with the dicta of Poussin. The singularapplication bestowed on the study of colour, said Poussin, is an obstacle that preventspeople from attaining the real aim of painting ; and the man who attaches himself to themain thing—style—will acquire by practice a fine enough manner of painting. But viewson art are justified by one thing only—great O Z Pi < C/3 Z Pi h H g Pi ^5,. C :S 0! -I •X. Li^ht and Colour painter chooses a key, and works in accordance with it; ifhis effects give pleasure the values are right in art, andrepresent the painter in a given mood. This applies veryparticularly to Frank Brangwyn, who paints at a whiteheat and passes from dark pictures to sunny effects as hisfeelings change from day to day. Many other men, as theParis Salon has proved during the last thirty years, look tofashion for their values and their colour-schemes, and thentry to attract unusual attention by starting a vogue atvariance with the accepted one. Cottet did this when hisfirst Breton dramas, sombre and gloomy, were sent toexhibitions filled with sunlit pictures. Changing fashionscannot help modern art to find its proper evolution ; andwe should keep our greatest admiration for those men whoare painters not of modes but of moods, like Sargent andLegros and Brangwyn. There is one thing more that belongs to this chapter; itaff
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