Studies in pictures; an introduction to the famous galleries . he same have at all times delighted in paintingmorsels—scraps of light or color or texture—justfor the pure love of manipulating the brush andpleasing the eye with an efEect. Teniers was as much 110 STUDIES IN PICTURES deliglited witli a brass pot, a stone jug, or a steelbreast-plate as Chardin with a decanter of wine anda china cup, or Diaz with a bunch of the same way and for a similar reason Vollonpainted his yellow pumpkin, as Monet his deadpheasants, and our own Mr. Chase his dead fish ona mari^et
Studies in pictures; an introduction to the famous galleries . he same have at all times delighted in paintingmorsels—scraps of light or color or texture—justfor the pure love of manipulating the brush andpleasing the eye with an efEect. Teniers was as much 110 STUDIES IN PICTURES deliglited witli a brass pot, a stone jug, or a steelbreast-plate as Chardin with a decanter of wine anda china cup, or Diaz with a bunch of the same way and for a similar reason Vollonpainted his yellow pumpkin, as Monet his deadpheasants, and our own Mr. Chase his dead fish ona mari^et table. Such pictures do not mean much,if you arc seeking a story or a history in the pic-ture; but they mean a great deal if you are cleverenough to see in them tlie love, the verve, the en-thusiasm of the painter in liis work. They lendthemselves to the most delightful of color schemes,and they may reveal the very best quality of feelingand pictorial poetry. There is something to admirein almost every kind of painting, if we have but theeyes to see , Yourg Girls. CHAPTER IXTHE ANIMAL IN ART After humanity as a subject in art other thingsare given place as they are closely or remotely re-lated to man. Naturally, therefore, the animal lifeabout us has come in for some recognition. Indeed,the study of it has been the passion of the presentage. Lives of toil have been given to it, librariesof books have been written about it, portfolios andeven galleries have been filled with photographs ofit. Art has not lagged far behind in this field. Theffisthetic view has kept pace with the scientific. Fromthe earliest ages the artist has been beside the his-torian in recreating the animal in form and color;some of the finest pieces of ancient art representthe dumb brute; and to-day the scientific knowledgeof a Cvivier or a Darwin is complemented by theartistic knowledge of a Barye or a Troyon. And why not animals in art? Why not picturesof cattle and horses and dogs an
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