. International studio. ies are told of Weir and Twachtman; in his lew etchings. When he turned to land- how Weir tried to sell Twachtmans paintings to scapes he added to that adequacy the charm of a Fifth Avenue dealer who held his hands aloft his figure paintings. When he painted one of and exclaimed, Why doesnt he paint beautiful these landscapes of his he gave it the delicate fields with flowers in the foreground and a brook visionary loveliness of a dream, yet he left the rushing over pebbles? Why does he paint such picture the unmistakable portrait of a place. dismal swamps? Pan and the
. International studio. ies are told of Weir and Twachtman; in his lew etchings. When he turned to land- how Weir tried to sell Twachtmans paintings to scapes he added to that adequacy the charm of a Fifth Avenue dealer who held his hands aloft his figure paintings. When he painted one of and exclaimed, Why doesnt he paint beautiful these landscapes of his he gave it the delicate fields with flowers in the foreground and a brook visionary loveliness of a dream, yet he left the rushing over pebbles? Why does he paint such picture the unmistakable portrait of a place. dismal swamps? Pan and the Wolf, Three Trees, The Red Of his youthful idol, Bastien-Lepage, Weir Bridge, The Factory Village, and that amaz- once wrote: I see in all his work that observation ing Building ol the Dam—in these is evident and individual rendering of whatever he under- that quality of a dream. took, that made him one of the first men of his Although there came a flood-time of honors time, and when speaking of his work I include all. oni tbirtx APRIL 1922 set of it, both early and [e was une\ en at times,and sometimes failed en-tirely; yet who but mediocremen do not make failures?He who dares and fails isoften greater than he whoen joys popu la r renow certainly had thecourage of his convictions,and dared to dare. Bastien enjoyed out-of-doors nature, both in artand in life. The peasants inthe fields were among hisearliest observations. Hisimpressions were keen andstrong, and he admired andrespected the laborer whotilled the soil. The subjectshe chose were closely ob-served, but from a differentviewpoint from those paint-ers who had preceded and daintiness ofform or feature he put asidefor the beauty that lies in the individuality and char- 11 acter of the peasant. Hismind was not biased by the jtraditional; he put downclearly that which he 11observed, producing theimpression at times of an almostscientific tendency in his art. More than one great artist has s
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