Art and artists of our time (1888) (14783565903)

Identifier: artartistsofourt04cook (find matches)
Title: Art and artists of our time
Year: 1888 (1880s)
Authors: Cook, Clarence, 1828-1900
Subjects: Painting Painters
Publisher: New York, S. Hess
Contributing Library: Brandeis University Libraries
Digitizing Sponsor: Boston Library Consortium Member Libraries



Text Appearing Before Image:
ed, yellow, blue; the original hue still glowing throughstreaks and stains of salt Sjjray, and driving mist, and basking sun, as dusky-rich as the wallsof the old palaces themselves! Mr. Dills picture has vivacity enough, and with such a tub asthis to manage, we may guess the amount of talk that is found necessary to get her on herway to the lagoon, whither a number of other boats of the same sort have preceded her.What with all this lumbering out-rig of tubs, lobster-traps, nets and buoys, baskets and jugs,and the clumsy-seeming sails to boot, it would strike fishermen hereabout as something of atask to handle such a craft, and we can imagine the jeering or sarcastic comments that wouldbe bestowed upon the whole performance if it were shown on the Avharves of Gloucester, or at 294 ART AND ARTISTS OF OUR TIME. the fish-stalls in our markets. When we come to speak of the English Pre-Raphaelites weshall find something in their ideas as to composition, that will remind us of this picture
Text Appearing After Image:
A VENETIAN FISHING-BOAT. FROM THE PICTURE BY LUDWIG DILL. by a German, and that will suggest a relationship which very possibly does not exist. Thereis, no doubt, in certain art-circles in Germany and in France, a reaction against the code offormal rules that have so long been imposed upon artists, and accepted by them with almost ART AND ARTISTS OF OUR TIME. 295 the submission due to natural, laws, but in England, as will be seen, this reaction supportedits claims .to respect by adducing the example of the artists who came before Raphael, andwho were not hampered by the rules that in the later work of that artist would seem to havecontrolled his practice. AVith the younger German and French artists, the reaction has ap-parently never been at the pains to make any excuses for itself, nor to call any names to itsaid, nor has there been either in Germany or France, unless it were the movement of theFrench Impressionists, anything that looked like a concerted propaganda of artistic heres