The sun. [volume] (New York [N.Y.]) 1833-1916, 1910-09-07
ItvBs tPG

aftavfrl mfsthf - % 90 ~ Fhs afitftsHf
q 49, rrtnsh q rtinUra So p 'tis
H.afssr So a-tinlsi .s.sss-~s-sI @.fF fF.s
r-sHHHs . 80 .n .lsrlarins r. .iu.ia..ir.
f raf ti.n- sstfHrtns nift nssfis % rfHriI
Hr HIsf.f Hnt.r.-t ~ fHfs afsftT au.f
arfi ststs fhis a.nsiniusv Fas- tu F-.~
49, rhi-f ssiirisrulw - nia.l~ru 1n.ia.ir-
fatinf~rs ~ narttf,n nalnf.rs fT o.
-sr' 80 sifian tni fssislF htfsptna .sssffar
q fu~n stas-= f.-r-.inaf.tiss eat rlstH.sia
seq shfsfv .iiararass e. niisu.--s.f
Nhli-t rHrYf fasuhiaav sf-i 49, 800 IN
trspf-s naftirs hif naf hltpsrssrtilT
uh~ir rirtitr=s 49, s-as-Hfifns q freif
risrsl- nufsifHsifn iinH fhs.ir anst-tv f.r
~ fwtth rhev srslt. tH~fflsasfv-s Htrs-
Fr-r svu~v Hanva- snst 'h@ surbt naa
tr0s@i chat fhs rtarritas q riiHfi tnIi
.snfi-z.nrs boz fH=ir ct-= 80 thina q I-aftF
lts7s % rafnt iir--tir fFaat nafufs Lei q
nfirh fai-r rrutt-fa tHan -tfhsr trHIsT
80 ts-ss-ls.=sl ssss== ===s --= ===H ~ HFH
MlrrIaHn fhe Hftssf r.tsFif a tfssrsnF r Ths.
shv fnd shsr-fsr- W. Htrrt-s,a rhu 10
v-tnran painfsr 80 rHi-s ~ .frHl.ufs
"T~rv sstfnfnrr at N,ssistasH rHi be-
inf"rntal 'sibs. ar- p'tblishsst i-.fs--n
rnv-ra They stiI remain -'tias Ii..
-ir~av". rafnbiinE ant ssiaE--fiv- ui
'hstr vshtr flr STUDENTS ths~- riu 30 uffi-
'ip'iii trti- ~ ,h-v ~ IN 'h- snlInrIttuu
q v~h~rtE- truths. rut then wa rin
nsVsS insist tno oft.n th,t two ru. twu
- -Four IN ths class rnufn u D. unLS later
'hai 'h- -'urt-n' Sith ,n.iis id,aiIty ,li-.,pv
80 tina, In art 90 ansi 'so may -. I've
/ For th- purely p.-lasnEic i,ortion - VIZ
harri-"ns wurk ~. have M criticism b..
an"s- his mstisr. bat ruiliiy rru'--t
a. hrs sweeping from the slate q history
lsnd-,ap- ART q Oh. early Ittlian- .nd rr.
Dutch ~ him Cpnstabis. Crun. anil
BoninE'un wers i.olated 'phcn.sa.n,'
their achievement "a. uniq,le ind.~,i
b, was "ns II tho most astounding intel
Iecs,ial f-ats - all time Ihe.. Er-a'
painters app-ar-,i accor,iing 90 Mr Hsr.
rtsnn. fIll hedsed. without ra-lal ron,z
for Reynolds Gain.iorDugh and Ruinnsy
simply followed In IN. tracks - III. obi
ma-tsr Naturally u viii he cunce,icsl
that Constable and Bunington we're N"
fOrrrinn~r- II N. Barhtton- even n tho
later hand ~ impr~--ionist- Bat our
criti" has eft ont the Dutchmen ~ the |
earlier CENTURY. othsrwise Constable and !
tho others ~ouhI hav. attempted to lifi !
themselves Nv their own bootstraps The |
A'NANh lAllAlftlAt NfkaT the etANNa.suNN Gssfl- |
tury school % landscapis,s
There 10 n certain condensation on the |
part Of SOME critics when writing about /
Landscape. For them IL does not begin /
until the last century " IL emin-ntlv
a modern art in the s>nse that great VIC
tories were won IA the nineteenth cen
fury over the problems 20 how To- make aI-
vibrate, how 10 model IN light Monet
not the BarbizOns. made the most snhd
discoveries in the realm of pulSatinK HIGHT
and circulating air. But lAndscap.,. de-
spite its prim. Importance in the field
ot art to-day Is hardly the novel quantity
Mr.. Harrison would have his students
beleve A visit 10 the Prado ia Madrid
might dlsabus" his mind Two tiny
Landscapes Nv N-lasqu"I ara there, aud
not only do they reveal the state 81 soul
and the Sensthility - fondly believed 20
H. modern. but they are startling fore
casts 81 the revolutionary methods 81
latter dAV impression And What of
Watteau's glorious Entertainment for
Cythera.- in the Louvre' Have any Of
the -moderns- invented more delicious
and dazzling color scheme. with ia cross
hatchings. sprays Of dehcats tonaltt.s
al atmosphere vibrating with exotic
harmonies'
The sense % Landscape. keeniy a. twas
DEVELOPED in the nineteenth century. was
Of course not a new thing either IN literature
or in painting. wrote Mr Il \ Mace oil
The old landscape was subordinatsd 90
the figures; painting tended 70 become one
distance. the foreground. The eve look
ing at the distant town regarded II with
the same portrait scuItiny." NeVerth.-
less. Landscape emerged from time 20 time
and played solo at the footlights We
have always held a brief for modern land
Scape, yet history - history. ". can 90
hack 10 the Italian PrimitiVe- aud enjoy
{ nose little glimpses Of countrywide With
= heir bright hight and their pur" sentiment
That large fr..Sro Of PERI gino's in tho Ma
: .onal Gallery. / he Adorat. on 81 the Shep-
he. ds. has "a ii ght. delicate sky THAT would
have pleased Corot That little cruel.
fxion- - Antonello da Mes-na's with
- dawn effect. Bellini's christ m the e
Garden Ambrugio BorRognon"'s charm
ing l''ls rivers. these all show the tine
landscape feeling Titan made the land. ,
scape an accessory. but his constrIctiv. !
power in the employment Of shadows was ,
a great discovery Need We add the .
]
sin " ~ Turner the sun god himself II
PAINTING
To tho Dutch must - credited the
honor " originating the distinctive f....l-
ing landscape qua landscape They .
loved view for itself for is Quaint. e
rhara "t.ristic or lovely effects IN Rem \
prandt Won NAV find a." landScnp. S-ns..
ieveloved to the point ~ genius His
.tch.d plates -" mnrv"l- Of observation n
and faithful transcription Hobt@nn. B
the two Ruysdaels. Nerme-r Il Delft a
Wynsst,. and a multitude ~ Dutchmrn
who s..i tho pace for the world Of land 0
.cape art. what ~ these? Con-tab. - %
not conceivable without their mighty r
influences We had always fancicd That D..
his was = conceded fact. "A tr,rsm Of crIt-
cisni. until we read Mr. Harrison's book
Not that W. need Low" Constable OF :
"rome the less. for they are often more p
ovabl.. than some 1T the men We have 4