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Early English and Barbizon Paintings Belonging to William H. Fuller to Be Sold at Public Sale at Chickering Hall on Friday Evening, February 25th
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Excerpt from Early English and Barbizon Paintings Belonging to William H. Fuller to Be Sold at Public Sale at Chickering Hall on Friday Evening, February 25th: Introductory Note and Description of the Pictures by Frank D. Millet, N. A Romantic jangle was in the air. These young men had heard the arguments pro and con in the studios, and had seen the extravagances of both arts in the exhibitions. What could be more natural than their recognition that both of them were extreme, and that the soul of the world lay neither in the Institute nor in Delacroix's atelier, but in nature? What could be more natural in the young land scape painters than the rejection of both points of view and the ight to the forest of Fontainebleau for inspira tion? We have been told that their eyes were turned to nature by seeing the works of Constable, Bonington, and Fielding in the Salon of 1824. It is possible; but at that time Rousseau and Dupre were each twelve years old, Daubigny was seven, Diaz was sixteen, Corot was in Rome. Moreover, there was no journeying to Fontainebleau until about 1833. Jules Breton has said they were in uenced by the Dutch pictures in the Louvre, and there was um doubtedly some study there. Out of Paris they took only a method, a way of doing things, whether derived from English, Dutch, or French sources or all combined is of no consequence now. It was from the forest that they got the material and the spirit of their art. The light, the air, the skies, the foliage, the forms of tree and rock and hill gave them their sentiment and their omnipresent love of nature. It was not studio nature that these men found. The world of sight is neither classic nor romantic; it is simply natural. The forest taught them this. It was on the edge of the forest that they lived, studied, and painted; and it is there near the great rocks and oaks he so clearly loved to paint, that Rousseau now lies buried. Rousseau was the Akela of the pack, the leader and the strongest painter of them all. Indeed, there is no word that seems to describe Rousseau so well as strength. He was devoted to the fundamental, the basic, the perma nent. Toward the close of his life he did little more thandraw, so intent was he upon the underlying forms of things. His conception of the earth seemed to circle about its structure, its vast ages of existence, its endurance, its un broken solidity. Not the great sturdy oak fastening itself in the fissures of the stratified rock alone, not the bulk and scope of hills and mountains alone; but the permanence of the blue sky and the clouds, the binding strength of atmos phere, the power of falling sunlight, - these were the things he loved and studied. He was not blind to the minor beauties of the world, such as the effects of light and color on foliage, water, and skies. He was a man of infinite scope, but back of light and color, back of surface effect, lay the fundamental and the universal - the firm basing of the earth. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works."
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