Studies in pictures; an introduction to the famous galleries . itself the possessorof a subjective sentiment, as in the work of someof the classicists and romanticists, is quite anotherthing. The one gives a poetic view such as we asso-ciate with the landscapes of Corot; the other simplyputs nature ^iB-A-fftiflfrface. Romanticism did not last long. It was too extrav-agant for permanent acceptance, and yet out of itcame good. The generati(m that followed—the Fon-taincbleau-Barbizon painters—saw that both Classi-cism and Romanticism were false in sentiment; andnothing could be more natural than
Studies in pictures; an introduction to the famous galleries . itself the possessorof a subjective sentiment, as in the work of someof the classicists and romanticists, is quite anotherthing. The one gives a poetic view such as we asso-ciate with the landscapes of Corot; the other simplyputs nature ^iB-A-fftiflfrface. Romanticism did not last long. It was too extrav-agant for permanent acceptance, and yet out of itcame good. The generati(m that followed—the Fon-taincbleau-Barbizon painters—saw that both Classi-cism and Romanticism were false in sentiment; andnothing could be more natural than the flight to theforest of Fontainebleau for inspiration. But theflight was not immediate nor hasty. We are told thatConstal5TelTie Englishman set the pace by exhibitinghis Hay-Wain in the Salon of 1824, and thathe was responsible for the direction Rousseau, Dupre,and others took. It is not probable. Rousseau andPupre were only twelve years old in 1824, and othersof the band were proportionately young. There wasno school until long after 1824. The French. XXXVIII.—COROT, Landscape. ?^ LANDSCAPE AND MARINE PAINTING 131 painters, when they began to paint, went to theLouvre and studied Hobbema and Ruisdael, just asConstable and Gainsborough before them had donein England. It was the study of the Dutchmen fortechnique, and Fontainebleau forest for a model, thatfinally produced the celebrated school of Frenchlandscapists. It was not until after 1835 that the new pointof view began to make itself apparent. The newlandscape was not an academic invention nor a ro-mantic concoction, but a discovery. The paintersof Fontainebleau and Barbizon found out that naturewas beautiful quite aside from man and his doings—beautiful, all by itself, with never a thought of hu-manity. To them the charm of the hills and valleys,the grandeur of the forest, the lowliness of the mead-ows, the mists moving over the ponds and marshes,the radiance of dawn and dusk, the flame of sunlight,the passage o
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