The higher life in art; a series of lectures on the Barbizon school of France, inaugurating the Scammon course at the Art Institute of Chicago . C g fc- bc s-. « sS o FOURTH LECTURE art; and it was unjust, of course, to Rousseau. Weknow that he was not a copyist. That he had in so farto copy, because he fell in love with each theme, oneafter the other; he was simply in love with the motherearth; everything was precious to him; everything wasworth rendering; but he still had the love of the oldmasters, the love of that good sense which feels stronglythat form has to be given to ones imagination
The higher life in art; a series of lectures on the Barbizon school of France, inaugurating the Scammon course at the Art Institute of Chicago . C g fc- bc s-. « sS o FOURTH LECTURE art; and it was unjust, of course, to Rousseau. Weknow that he was not a copyist. That he had in so farto copy, because he fell in love with each theme, oneafter the other; he was simply in love with the motherearth; everything was precious to him; everything wasworth rendering; but he still had the love of the oldmasters, the love of that good sense which feels stronglythat form has to be given to ones imagination. I onlyquote the saying as a mark of how, in the first place,Rousseau was antagonised; how Diaz was loved anyhow,by anyone, all through, and never an object of explanation is evident, and it is painful to thinkthat a man of some importance like Couture could de-mean himself in teaching the wrong thing to a pupil,and a pupil in whom he believed. As I have said, all these things are more or less charm-ing, being more or less anything. Nymphs, Dianas,Venuses, women bathing, cupids and children, and everyvariety of real or imaginary costume,
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