The art of painting in the nineteenth century . pre (1812-1889), the oldest of fourfamous landscapists, delighted in the play of theclouds in the heavens, so that his land is oftenbut a necessary complement of the is the charm of his pictures, and color ameans of expressing its multifarious aspects in aclouded sky. He constantly sought new colorrecipes, and put the pigments on the canvas sothick that his landscapes are easily Virgilio Diaz de la Pena (1808-18 76), aSpaniard who died in France, had perhaps theleast powerful personality of the Barbizon quarte
The art of painting in the nineteenth century . pre (1812-1889), the oldest of fourfamous landscapists, delighted in the play of theclouds in the heavens, so that his land is oftenbut a necessary complement of the is the charm of his pictures, and color ameans of expressing its multifarious aspects in aclouded sky. He constantly sought new colorrecipes, and put the pigments on the canvas sothick that his landscapes are easily Virgilio Diaz de la Pena (1808-18 76), aSpaniard who died in France, had perhaps theleast powerful personality of the Barbizon quartet,but he was an amiable painter of exquisite taste,both in design and in coloring. The man of strength among these artists wasTheodore Rousseau (1812-1867). He really wasthe first to appreciate that nature has a heart,that there is a life which only the contemplativemind perceives. He was a no less ardent stu-dent of nature than Courbet, but he went deeperand did not stop with external accidents. Withhim began the so-called intimate FRENCH PAINTING 23 The best qualified by nature, however, tounderstand her mysteries was Jean BaptisteCamille Corot (1796-1875). The points in whichhe differs from Rousseau are thus summed upby Professor Muther: In Rousseau a tree is aproud, toughly knotted personality, a noble self-conscious creation; in Corot it is a soft, tremu-lous being rocking in the fragrant air, in whichit whispers and murmurs of love. Corot did notcare to paint the oak, the favorite tree withartists who have a passion for form, nor thechestnut, nor the elm, but preferred to summonamid the delicate play of sunbeams the aspen,the poplar, the alder, the birch with its whiteslender stem and its pale, tremulous leaves, andthe willow with its light foliage. The feelingof Corot toward nature is beautifully set forthin one of his letters to Dupre. One risesearly, three oclock in the morning, before thesun is up, and takes a place at the foot of atree. One looks and wait
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