. What pictures to see in America. Fig. 30—The Sower. Millet. MetropolitanMuseum of Art. New York Fig. 37—The Hay Museum of Art. Jules York City. NEW YORK CITY 83 enough for me! It was as though his very-heart and soul yearned to express on canvasthe lives of the peasant people as he knew time went on, he simplified and blendedform and color until they became living andsentient things in the luminous atmospheresurrounding them. But never for one momentdid he lose the essential element in a pictureor make us feel that his sentiment had deteri-orated i
. What pictures to see in America. Fig. 30—The Sower. Millet. MetropolitanMuseum of Art. New York Fig. 37—The Hay Museum of Art. Jules York City. NEW YORK CITY 83 enough for me! It was as though his very-heart and soul yearned to express on canvasthe lives of the peasant people as he knew time went on, he simplified and blendedform and color until they became living andsentient things in the luminous atmospheresurrounding them. But never for one momentdid he lose the essential element in a pictureor make us feel that his sentiment had deteri-orated into sentimentality. Few artists intheir own lifetime have come into their ownfrom a financial standpoint as did pictures ran up into the tens of thousandsof dollars while he was still living, and hecould enjoy the sense of pleasing the publicwithout lowering his high standard of work(see page 95). The Vanderbilt gallery (16) has a largenumber of fine examples of the Fontainebleau-Barbizon School of 1830. Here we find Mil-lets Sower (Fig. 36). This is probably thebest known of the maste
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Keywords: ., bookcentury1900, bookdecade1910, bookpublishernewyo, bookyear1915
