The Higher Life in Art, Lects. on the Barbizon School John La Farge

ISBN: 9781230362946

Published: September 12th 2013

Paperback

42 pages


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The Higher Life in Art, Lects. on the Barbizon School  by  John La Farge

The Higher Life in Art, Lects. on the Barbizon School by John La Farge
September 12th 2013 | Paperback | PDF, EPUB, FB2, DjVu, audiobook, mp3, ZIP | 42 pages | ISBN: 9781230362946 | 4.77 Mb

This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1908 edition. Excerpt: ... SECOND LECTURE OURMoreThis historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1908 edition.

Excerpt: ... SECOND LECTURE OUR subject is Delacroix, the precursor of the so-called Barbizon school, which as you know is a misnomer, an accidental way of grouping a number of things together that have really not very much connection. The title, the name of the Barbizon, or the Fontainebleau school, is a mere expression of the fact that certain of the men whose names we associate with that title happened to live for a short time within the great and beautiful forest of Fontainebleau, and found therein sufficient themes for landscapes or for those parts of their pictures that needed a landscape motive.

The exact number of these men whom we should bring together under that title is also an uncertain and a fluctuating matter. Probably I shall drop half of those who may fairly go in under the name. As you all know perhaps, the United States has a very large proportion of their work, to the credit of our country, which is supposed to be and is I suppose, and I hope will always consider itself, a barbaric country, because there is no greater protection than ambition for to-morrow.

To our great credit we were also among the early admirers of this school which triumphed later in France. Millet was acknowledged here before he was really known over there, and Millet certainly met his first great encouragement through Americans. As I said, the exact number of these artists is a question of fluctuation. Their ideas, their temperaments, happen to be very diverse, and perhaps even in certain ways contradictory- their origin, that is to say the way they came to live at a certain moment under certain circumstances and certain influences, is not separable from the great movement of which they are the results, even when they contradict it.

That great movement is a...



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