Every evening, Wilmington daily commercial., 1922-04-17

AZ T. Fin1ly honeymoon couple
stroiied up.
The groom aaid: That Ia not bad.
think there In sornrfh,ng In that" And
corots neart Ioaped VITA appreciation.
But the bride. whom c1rot Described
as the softest and gcntlest lI:,le per
SON. drew him away with a shufder
and said: 1T Is frightfUl. Come on"
And Corot ends IN, s.ory--~And I
said TO myscif Art .hou ssti~hef7
Thou hast heard tho opinion OK the
public"
Troyon. too, the rnog,er painter OF
| cows, wos unappreciated IA his day,
One story says that when a jury ri
artists voted Troyon a decoration, OF.
nciol art circles we're a2nast. The
Minister Of Fine Arts shock his head
| rssisnediy when he saw 1roy1n's
aams on the list OF artists v2o were
10 receive decorations.
1T appears decidedly thss know
nothing about painting" ne Iarnsnted
az no unwiliingiy put his signature 90
| The order.
Corot Regarded ss Radical.
70 seems grange that these nine
esn,h century artists we're regarded
tnen es radicals who dared 90 break
away from tradition and paint nature
as she seerood % them rather than as
She had always been painted.
Ono OF their worst crirneJ was mat
| they chogs 20 paint IN straigf1tforW ward
manner tho forests. peasants and
farm scenes OF France when every
painter was supposed 20 be STEPPED IN
IN, ciassic atmosphere Of Greece and
Ita'y.
The arnszernergt os the French pub
IL ~ the French Landscapes vas
something Ike that Of our own naod-
ern public when IL discovered recently
that novels descriptive or nn,d-wesrt-
, ern hfe might be taken -e~lousy, and
, that all American literature need rot
bear New York gtarnp People
, nowadays are l-ss frightened by new
so>as and revolts than they were Ia
the France Of the nineteenth century
I Artists and pvbifc ssfks held olTt
, strongly sgsinrt Ifiier with his tcfi-
worn peasants. Troyon with his end
4, le,s studies Of ca-tis, and Corcr with
). his French forests which bore little re
= s.rnbnno4 20 any reasonable Ttasan
q sandscape.
q The source Of Inspiration for th>ss
= artists. and a number Of othere VINO
= were non-conforn3sts Ike thsn, wae
8 he little French village OF Bsrtl7on
= where they worked at their painting
y From their association with this vii
"a, age a group OF painters came 20 be
, known as the Bsrbizcn school, and
also az The men OF tan-ty" because Il
was about 1890 that the Bsrbizpn
= school came into prorninence-
~ In 1928 two painters got lost IN rne
"A foresr OF Tontainebleau, and wander.
40 ed 70 tho viT,age OF Barbszon wher.
70 they spent the night with a peasant
~ The next morning they we're 70 en-.
= "a ptlrred over the peaceful beauty o
No the remote hanlie, and the entranc,
,d to the forest nearby that they I'M
ID mediately bargained With the pealSsn
rs for board and lodging and settled dow
Of to paint
Tho fame Of Rarbizon as an idea
n artists, retreat spread, and n a fsv
4 seasons tho peasant hos, had TO con
"a vert a barn into an Inn 20 house nj
te eager gussts- IN the rush season 20
ir outdoor s.eencfrtng. artists even slep
lis on a large table for the privilege c
a. getting Up at FIVE o'clock or earle
he and rushing out 20 study the sunrtz
ng in the forest. Corot tells v1v.diy {
ng going out at three o'clock and water
,ct sng the daybreak with It's suocessio
led ot wonders.
.,-d Mr.. Lucas. who resided in Paris fc
lw more than SO years. was especially ir
H. terosted In this Barbizon school an
- with great foresight, ne collected bot
ers pictures and palertes OF tae artist
NIX TO the lasting benefit OF America