. A child's guide to pictures . by modernmen who are following in their footsteps, are fullof the suggestion of poetry, and we speak of themas poetic landscapes. This does not mean that theyillustrate any particular poem, but that they affectones imagination in somewhat the same way aspoetry does. The reason is that such artists havethe spirit of poets. For nature arouses in themdeep emotions, and their pictures, like the poetsverses, not only describe the beauty of nature, butexpress the sentiment, or feeling, of their own souls. On the other hand^ you must not expect to findthis suggestion o
. A child's guide to pictures . by modernmen who are following in their footsteps, are fullof the suggestion of poetry, and we speak of themas poetic landscapes. This does not mean that theyillustrate any particular poem, but that they affectones imagination in somewhat the same way aspoetry does. The reason is that such artists havethe spirit of poets. For nature arouses in themdeep emotions, and their pictures, like the poetsverses, not only describe the beauty of nature, butexpress the sentiment, or feeling, of their own souls. On the other hand^ you must not expect to findthis suggestion of poetry in all modern naturalistiolandscape. There are still artists whose point ofview, like that of the old Dutchmen, is are content to paint the beauty of naturesimply as it shows itself to their eyes. [Nor needwe argue as to which is the better way, this, or thesubjective point of view. We may prefer the one orthe other; though, perhaps, it is better for us to keepour minds open to the beauties of both. 128. o ^ ^ CHAPTER XIIFORM AND COLOR WHE^N^ we began to speak about compositionwe continually used the words line andform. Gradually, however, as we left the subjectof formal composition and talked of naturalisticcomposition, we found ourselves substituting thewords colored masses. It would seem then as if there were a distinctionbetween these two things; that form was on one sideof the fence and color on the other. Yet that wouldcontradict our experience; for we know that every-thing which has a form or shape, visible to the eye,has also color that we can see. And most thingsthat have color are seen to have a shape or all; for example, when the sky is a cloudlessblue, or when we gaze over a distant expanse ofsea. Still, as a general experience, color and formare identical. The face of a friend—you recogniseit by its color as well as by the form of the features;and, should you have the sorrow of looking uponthat face when it is dead, the change in
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