The sun. [volume] (New York [N.Y.]) 1833-1916, 1910-08-21

solemnIty that vas an accident m Cour-
h-''s art. and the observation seemed Ia
promise q FlAubert. culling with JOY the
luAuriant flowers Of proud uncheck ed
bsffss from a provincial garden. But
Courbet could not hold what sesmed
within his grAsp here
II broke down speedily INTO the absurd
Bon Jour. Monsieur Courbet.- the ire
pre@sible master painter jumping into
the frame. eclipaing and scattering the
actors The art that was To hiring out
all the richness and delicacy Of his sense
endowment was growing from another
root
II We are Ia believe the author already
| cited u was from Corot that Courbet
got his clue which ~ not such an in
fcredihle statement ~ u seems Corot told
: VI Guichard that the man who believed
in no teaching was schooled by him in
values Courbe; has said: de chsrche
hIes tons; c~st tout simple This recalls
Huysmans and his hrief manifesto 81
! realism i write what | $50. what feel
and What ! have experienced. and I
write il a. well a. I can. that IL all :,
Thereafter there il struggle between
Rih"ra and Corot In the Wrestler. a.
lels~rolN noted, there il mixture Of
! two proceedings The figures are studied
49, IN the academy. the Landscape IL pisir
, ar and painted in b~hind them from a
/ sketch
| Courhet's habit Of mind could rot ao-
commodate itself to a landscape treat
ment of figures. He constructed them
and reoor struotei them carefully. and
his theory was dead against anything In
! pai- tirG deperti-g on nerves or mood
81 the momert The master painter
should I've able to obhterate ard repAint
I lire for lire a"d tore for tore ten times
! the ptcture oI q. rei-te' This irsiste' c.
ruled out for him all that vas movir q.
neetir < ard orly Ia he espresso by
sacrifice ard summary Nhsr he pei ted
a wave IL terdei to become station airy
AID metallic. tho goal ~ which ne was
force' was still life. portrait a." the still
| life in Ia" rtcApes. In the lest ne hal to
make oor cs~siors. a-d the difficulty Of
foliage was ont hy the palette IL ife But
allowing for ell that h1rars /" Courhet
Of a. ul'.r VISOR a" q practica beside the
rev We have orly to compare his Wave
AZ tho Louvre with the pictures Of De
lGc-'IN tn measure his origi atty Cour-
bet ress-ts v 80 fImert rha' vouli
T. terfere - the trafic between his eve
a~d a robust pla"turous reality
In pclacroiN tho study ~ natural and
growing aspect has a great and grow ing
influence. hut there - alsn a system "
purely decorative arrsne, rn~nt nf colo's
ard IN" rather hNcd Colors that make u
up are Ink" stock company ~ actors
zach IT whom the rcd. the blue and the
yellow. dem--ds hls part in the new
plec~. nor - tho author satisfied I'LL ne
pla~- them IN their full vgor. In
Courtst how much economy ~ colors
and ~ the ssn" fini" how IN. SpActed.
beautiful ard in"vitFble an effect 81
color. Tho cyc turned 10 nature with
innocence and readiness has discovered
a harmony more delicate than ia ever
invented in tho greer n IN" soc. tho tones
% thn beach. tho ch-olut~ly acCorC'a1t
huas Of IN" ky and clouds Tn. simpHf.
cation. tho art ~ the vision. - quite ~
r"mr hlc o.. what II haS 81 realism.
but IN" attitude. the readiness 10 take a
lead and r limit from m. thing sen -
hcgin With an IInproasion and ~ let tho
impression mako IN" expression. ~ Mill"ts
words. - ~ hat stamps u a. SIN Rula thNr..
ard even new m tho world Fo- il vas
NV n mrkc picture of wRvc only.
and tn neccpt the waves idess ~ what IL
m" righ' color for wgvc-
Courhat declares MAuclair was no, an
intellectual He understood nothing 81
the neurological allegories and the sym
bols 81 the school. which he called md
dies "" understood 'Carcely any better
m" romantic, legendary or tragical som
positions which hr called painted litara-
tIr" He was SOLELY paints~ who had
made up hIs mind to paint only what he
-aw and to restrict hrs effort 20 this
~ haN" never seen winged men he
hluntly sad. 'ConSss iuentiy ] shall never
paint an angel HIS -ensitlvenesss to re-
llgion may be measured nv his proposal
10 paint lunch party that he had Ell
lvenei by "A rich VEN Of pleasantly and
far~,. across the Chancal arch at the
Church Of Notre Dame De Pontoise The
rhythmic exaltAtion ~ verse and its
anAlogues in drawing were 20 him fslsi-
fcatIon In this the radical artist touched
hands with the veriest phihsune Our
century he said will not recover from
the fever Of imitation by which It has been
laid loW Phidias and Raphael have
hooked themselves onto Us The gal
lerIes should remain closed for twenty
see with their own eyes For What can
the old masters Offer u.s. IL 10 only
Ribera. Iurbaran and v.lasnuez that I
admire. Ostade and Craesbeeck still allure
me; and for Holbein I feel generation.
As for VI Raphael. there - no doubt tina,
b. has painted some interesting portraits
but | cannot find any ideas IN him
Her" We must smile at the use Of ideas
N connection with painting for u was
against intellectual art that Courier
numbered besides. Raphael - distinctly
a painter Of IDEAS the IDEAL illustrator
of them a. MIR Berenson would put ~
- And the artistic KIN continues Courbet.
-'he herr. or more properly the slaves.
~ this great man are really preceptoru
81 the lowest art What do they teach US
Nothing
4 good pictur" will never come from
their Ecole DIES B"auT- Arts The most
precious thing ~ tn. originality. tho IN
dependence Of an aTtIsr schools have
no right 10 oNIst, there are only painters
I - H.. 81.