File:Catalogue of masterpieces by "the men of 1830" - forming the private collection of Mr. H. S. Henry, Philadelphia (1907) (14580995679).jpg

Identifier: catalogueofmaste00amer (find matches)
Title: Catalogue of masterpieces by "the men of 1830" : forming the private collection of Mr. H. S. Henry, Philadelphia
Year: 1907 (1900s)
Authors: American Art Association Woodward, Robert B., 1840-1915, former owner NBB Millet, Francis Davis, 1846-1912 Kirby, Thomas Ellis, 1846-1924
Subjects: Henry, Harry Samuel, 1856-
Publisher: New York : American Art Association
Contributing Library: Philadelphia Museum of Art, Library
Digitizing Sponsor: LYRASIS Members and Sloan Foundation

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m nettedthe sum of one million eight hundred thou.sand francs. For the principles of art to which he clung, let him.self speak: This famous thing, the Beautiful,he once wrote, must lie—every one says so—the final aim of art. But if it be the only aim, what then are wc to inakc of men like Rubens, Rembrandt, and, in general, all the artistic natures of the North,who preferred other qualities belonging to their art ? In any case, there is no recipe by means of whichone can attain to what is called the ideally beautiful. Style depends absolutely and solely upon the freeand original expression of each masters peculiar qualities. Wherever a painter sets himself to follow a con-ventional mode of expression, he will become affected and will lose his own peculiar impress; but where,on the contrary, he frankly abandons himself to the impulse of his own originality, he will ever, whether hisname be Raphael, Michael Angelo, Rubens, or Rembrandt, be securely master of his soul and of his art.
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NARCISSE VIRGILE DIAZ DE LA PENA 1807-1876 Diaz—of Spanish descent^was third member of the Fontainebleau group. AFrenchman only by the accident of birth, he became one of the Fontainebleau menby the accident of acquaintance. At Sevres, where as a boy he was decorating pot-tery, he knew Jules Dupre, and it was probably through Dupre that he met Rous-seau and virtually became his pupil. But before Diaz knew Fontainebleau or paintedits landscape he had served his time in Bohemian Paris, painting small figure pic-tures under the influence of Correggio, Prudhon and Delacroix. The.se fancifullittle pictures of nudes, and of groups in rich costume, the subjects for which he gotout of books and his own perfervid imagination, he executed with little labor andgot for them little money. It is said that he sold them for five francs apiece, butthe number of them was so large that even at that price he managed to live com-fortably. But these were the years of his groping in the dark. He was m.ste

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