. What pictures to see in America. O! ID o ?»J 3 ZJ -f^ ^ *-4J Q 1—( OJ -c 0) 5b O U ^ 0; ffi J3 o •?^a 1 - M^^ ^*^ ,^ CJoS. u? 3 d tn l-H « -a S o o PITTSBURGH 197 self is sitting at one of the tables sketchingthe crowd as it passes in the Boulevard desItaliens, Paris (Fig. 120). How real is theyoung woman who is hurrying has an undertone of eagerness that com-pels interest, but I venture she could scarcelytell why she is eager, only that Paris is in herblood. Paris does get into the blood, and Raf-faelli knew it. Wonderful character sketchesthese likenesses are—veritable portra
. What pictures to see in America. O! ID o ?»J 3 ZJ -f^ ^ *-4J Q 1—( OJ -c 0) 5b O U ^ 0; ffi J3 o •?^a 1 - M^^ ^*^ ,^ CJoS. u? 3 d tn l-H « -a S o o PITTSBURGH 197 self is sitting at one of the tables sketchingthe crowd as it passes in the Boulevard desItaliens, Paris (Fig. 120). How real is theyoung woman who is hurrying has an undertone of eagerness that com-pels interest, but I venture she could scarcelytell why she is eager, only that Paris is in herblood. Paris does get into the blood, and Raf-faelli knew it. Wonderful character sketchesthese likenesses are—veritable portraits. Lookat the man with the dog and the waiter and theman selling papers and the woman by the sign-post. Even the horses show the temper of thebus teams of Paris, especially those waitingnear the clock. The longer we look at this pic-ture the more impressed we are with Raffael-lis intimate understanding of humanity. It was Raffaelli who dared to paint pictureswith white as the prevailing tone—whiteagainst white, whites superimposed on once saw on exhibition, in New York City,dozens of Rafifaellis canva
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Keywords: ., bookcentury1900, bookdecade1910, bookpublishernewyo, bookyear1915
