Studies in pictures; an introduction to the famous galleries . hies areproperly adjusted, we shall wonder at our blindnessin not seeing the really excellent tilings in Impres-sionism sooner. During all the nineteenth century France luis ledthe world in landscape, and the different movementsthere have met with varying response elsewhere. Inour own country, for instance, the Fontainebleau menand their pictures had some weight with HomerMartin, Inness, Wyant, and others; and any of ourmodern exhibitions will show what influence ClaudeMonet has had with the younger men. In the sameway the Scotch p
Studies in pictures; an introduction to the famous galleries . hies areproperly adjusted, we shall wonder at our blindnessin not seeing the really excellent tilings in Impres-sionism sooner. During all the nineteenth century France luis ledthe world in landscape, and the different movementsthere have met with varying response elsewhere. Inour own country, for instance, the Fontainebleau menand their pictures had some weight with HomerMartin, Inness, Wyant, and others; and any of ourmodern exhibitions will show what influence ClaudeMonet has had with the younger men. In the sameway the Scotch painters have followed Corot, and theSrandinavians Monet. Dutch landscape, with theiMaris and others, has been more local perhaps; butin a large sense it, too, has paralleled if not followedthe Fontainebleau work. All this is applicable to marine painting, l)ocausepictures of the sea have been and are painted by thevery landscape painters we have been thome, however, is hanlor to handle, becausevaster in volume and less marked in peculiar fea-. QCUJ o I o _l CO XXX LANDSCAPE AND MARINE PAINTING 135 tures. The sea is like the Alps or Niagara—some-thing that only a universal mind and a master handcan bring effectively to canvas. Knowing the diffi-culties of producing a picture out of a great reachof sky and water many painters have avoided theopen sea, and in its place produced shore scenes,harbor entrances, ships at anchor, and the like. Inother words, they have compromised with nature byintroducing the human element. This does not pro-duce, has not at least produced, the best quality ofsea picture, though it has resulted in a more popularkind of art. All the early painters painted the harbor entrancewith ships and sails and flying flags; but just whowas the first painter of the sea would be difficultto say. The first ones to make humanity subordinateto water effect were Claude Lorraine and SalvatorEosa in Italy, and Simon de Vlieger, Van Goyen,Van de Velde, Cuy
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