Landscape and figure painters of America . ned by Mr. Brymner, thatthe act of the artist in leaving out unnecessaryfacts, or even changing them, is performedunconsciously, is a very interesting one. It is1 Modern alluded to by Ruskin, who says:1 In makingVcTiT these changes Turner does not think at 25. They come into his head involuntarily. Anentirely imperative dream has taken possessionof him; he can see and do no otherwise thanas the dream directs. No happy chance, nay,no happy thought, no perfect knowledge, willever take the place of that mighty unconscious- 2 Land- neSS. scape. C
Landscape and figure painters of America . ned by Mr. Brymner, thatthe act of the artist in leaving out unnecessaryfacts, or even changing them, is performedunconsciously, is a very interesting one. It is1 Modern alluded to by Ruskin, who says:1 In makingVcTiT these changes Turner does not think at 25. They come into his head involuntarily. Anentirely imperative dream has taken possessionof him; he can see and do no otherwise thanas the dream directs. No happy chance, nay,no happy thought, no perfect knowledge, willever take the place of that mighty unconscious- 2 Land- neSS. scape. Chap. xiii. ln such cases as that of Turner Locn Awe,2 or striking off the refractory erton. 3Modern summit of Mount Pilatus3 as its lines did VcTiv not comPose weH with the rest of the picture Page 232. of Lucerne, or painting the gorgeous colours 4Essay on . John of a sunset in a sky where the sun is stillRuskm. wen aDOve {kg horizon,4 it is difficult to realize W. J. Still-man, that the act was an entirely unconscious. VARIOUS OPINIONS ABOUT ART 6l But generally it does seem most probable 1 It wasthat the artist feels what he must paint, what ot mere*y r 7 topography he must leave out, and the manner in which he that he uP- . . set, and the must paint, without any distinct consciousness moUntainsthat he is changing what he sees, or giving that he marshalled other than the truthful impression of the scene about, butbefore him. Te°ut . Joshua in To-day, writes Amiel in his Journal, the liberties u , , „ . r . ... he took with we have been talking realism in painting thesunand of that poetical and artistic illusion which and the moon. does not aim at being confounded with reality The De-itself. The object of true art is only to charm ^y °f ^the imagination, not to deceive the eye. When see a good portrait we say, It is alive!In other words, our imagination lends it see what is given us, and we give on ourside. A work of art ought to set
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