, 1874-02-15
n the world abuse it, aha1l still believe in its

in the world abuse it I shan still believe IN It's
beauty" H.
anosher painter Of great. reputo enteIea- az
went up to look At the picture anu tGfntusu f! ~
mar. for soma time. II think, Mr. Graham ne
eaid 1t length, "lf you want my real oplnlon,
think there Is good deal OF merit IN your PIC
turo: tho expression is decidedly good-yes' de-
cidedly good; but for the n,na,-ryo4 5ess-yon see
that the great object OF Art Is to Reproduce S2-
tu1e."
The artist murmuzed something hunably about
idealizing Nature.
"Idealize BY all means, my dear Mr. Graham"
said the other idea!izo Is much as you can. but
do not forget to preserve certain vcIisinlltuuc.
When We talk OF reproducing Nature, we mean
reproducing all objects, natural or Artificial:
which we find in Nature Nov among artificial
drapery. And let me just AJAX you You erer
anywhere saw any drapezies like those?" This
question the painter asked With tho sir Of man
whose most tender feelings have been hurt, snd
went on, without waiting Tor An answer: - do
not say it is easy be accurate, but accuracy Is
worth
L GREAT DEAL. OF TROUBLE.
Perhaps you will bo surprised to hear that
spent three months in travelling to obtain proper
authority, induhitable authority, for tho centu-
1ion's xrnor in my last Roman picture. And
then it is 30 easy to throw iu object Of futni-
tuze or what not that belongs to the time OF your
picture-a bi6lot % the French call it--here and
there. It gives local aud antiquarian color,
| dear Mr.. Graham. Are you going to send thls
| to the Academy Yes? All! Good morning."
To this eminent painter succeeded IN eminent
critic who vas not painter; and from ms
Jnusmien., ai anco ~ d IT NV hrnc with # Tia
$500 ~ 1900 ". aanyoh,t;6n Haoi m
nrecistion. after what be had already heard, be
pparia soa-cs1v a1nect This cri.:s rrceted tie
coulu scateey & eondascans,on and 1ooIea A.
aIs'st VIII t1usn .,n. 1o;1t " rav H. 1not
eae Gto = a end eod ~ ,ooed At It kneelinr
5e fe a. vent ciose NJ to il and far away from it Be-
no %en. etgao ~ onh1s GLASS With his hands s1d
s"H1u :: :Tnne.t1V Mr.. GFahann.
DON 1hlNA 4h1S - ,opv ~ ~ 1e'A 4A'11'
,r,ora,. . oro.t deal tno much realism for the
no ..h4.ae e5;ch 10 nnrelv ideal to nv mind Yon
sapJs'', 1",s 3haaa cerhs ara mat iIe ayeryday
1as1 1;fa bah;sa orjv that ti,av have wings and
! ~ ton1l. IN thinl thare1s ar obtrusiya re-
4. ~ ho,, ~ fouras thev,ra all too defined
= ~ voa 1I Innw whaE meau-too corporeal. And
you 1uJ" th;nlne there's somethino vror;tr
.1 saa , 10Y t.rt-'anisu Thnss orcnn mrtans
a+, "1aa y uoa ~ too aonorons onality to accord
veil xith the iicht finbre Of the saffron robe;
Wa va ~ rha-nhs a"an a1a trentel in too
auu e."a,a4n rannarH This nritio waa one
| ~
tacbn;c,, mn.ical ter1ns to cou-
| wov thoir so-called idca, about painting: in the
adon.inn sa9 sdc,1' of whioh method % they
| n1xp11T lnorr As mrou SENSE j..
AZ would lawyer who talked about failing case
hav;nr snstained q complicated fracture With se-
psra ahra.inna' or mnsician who spoke Of tic
| ,o;Jt,ia 5;stanra ri a aonata Al tho same
tnu t;1na : cont;nnel the critic. IL am Yery much
,iea sed rith tha brio Of YOUR cu1taira, and tbs
pe snSt sensnous tones OF yonr clouds; but I can't
sU, nrerstand why Tou aye Kent them in that sub
fned EnY throughout lnatead OF supporting the
,,r;nr;na1 theme with 4 full dInpsson of scarlet
r tha hackrronu5. Indeed, I can't uu-
| derstand the whole business why you
shnnId have deserted YOUR brillinnt, dash
me- s1vla of last year, which only
wanted lite moro keeping N one key--why
vo shonId haTa left 1andscape and taken to ideal
IAN. 49,.
| 1cEBrA1sLY CANNOT EaAo1nK.". e.:
! And ho corta;n1v con1d not
Tno cr;t;c woe sncceaded by another painter. 4
,;n+ar vho da,;rhted in odd. weird pictu1as.
1p,h;,l, vrTa variatons in the same groundwork
~ ca,or throurhout, He would have river
seaman which looked Us il eeen through green
y, 1850 aIararnaas IN nrfducina landscapea which
.en. lilo some ch,etIv view in dead world,
~ TS.e s,,he+ancs # hin remarks was. "My dear
fa3,ov tII s"'''''
stter him cana a. = t11,Iy ioyial realistic painter,
uho WA accnsromed to laY On his paint as it the
CANVAS S S Sere poor wretch starving for want ot
It md. as natural consequence. his pictures
nt;an snrffared from surfeitt. "By JoYe, Grat
s,an, % ~ - cried A soou as he eaw tho picture
~ :. idn't eYnect this Of YOU, old boy; nevei
mhn on9 l9eeo ao nver t. tha washedout. brown
apd.sray, sI dirty-green school. This is quite ar
w. Rr,,fo husinesa. And what's the meaning
X X ~ " III nh , What ara those Ettle
baooarr ~ ~ that are Ill head and wing:
Se6fas Oh mt I. say. Graham, i
~ bad tn seerour picruro eickening fol
want, want If mint in Tint way. Here,
GIVE uE 4 BRUSH"
And onotch;np one nm. he advanced with il
ruu +e,va-5a ia easel when tho artist who bad till
them heard m hiu in patient silence, rushed at him
sn;1ad snSu d him to ies infnite s1,1priae by the
tbroot and tnruinr him out of the atudio
| jockad the door Having done this, he sat down
AMI is it for this. he said to himself, " that
have toi1ed-for this that have felt my heart
oba1sd obau what % seemed to me an inspired desire
srhjs ;s The work that has absorbed my soul
~ +1,;a ;s ,hat the rnaaters OF the daY think OF
-" ~" 'l10 - "-1''' '''~ '''.''~''
Then indeed -.
/ AAAS-