How to study pictures by means of a series of comparisons of paintings and painters from Cimabue to Monet, with historical and biographical summaries and appreciations of the painters' motives and methods . neral, the crit-ics called it; a sneer at the religious ceremony,—butsurely the bearers are performing their task with a simplesense of responsibility; the coffin is not sensationallyforced into prominence, but, on the contrary, introducedinto the picture with much reserve; priest and crucifermay display no emotion, but they are showing ordinaryattention to their duties; one of the little a
How to study pictures by means of a series of comparisons of paintings and painters from Cimabue to Monet, with historical and biographical summaries and appreciations of the painters' motives and methods . neral, the crit-ics called it; a sneer at the religious ceremony,—butsurely the bearers are performing their task with a simplesense of responsibility; the coffin is not sensationallyforced into prominence, but, on the contrary, introducedinto the picture with much reserve; priest and crucifermay display no emotion, but they are showing ordinaryattention to their duties; one of the little acolytes, asa boy will, is showing inattention, but throughout therest of the group, the persons are exhibiting differentvarieties of feeling from deep affliction to almost com-plete indifference, just as one may observe to-day on anyoccasion of a largely attended funeral. A sensationalist would have emphasized every pointthat could extract our sympathies—the coffin, the beautyof the service, the grief of the mourners, the yawninggrave. Everything would have been keyed up to a dra-matic intensity. But Courbet, with a wider vision, andperhaps a larger sympathy, has viewed the incident in its [360].
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Keywords: ., bookcentury1900, bookdecade1910, booksubjectpainting, bookyear191
