File:American painters- with eighty-three examples of their work engraved on wood (1879) (14767470941).jpg

Identifier: americanpainters00shel (find matches)
Title: American painters: with eighty-three examples of their work engraved on wood
Year: 1879 (1870s)
Authors: Sheldon, George William, 1843-1914
Subjects: Painters Painting, American
Publisher: New York : D. Appleton and company
Contributing Library: University of California Libraries
Digitizing Sponsor: Internet Archive

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urity, tosee us enjoy the pleasure of seeing what the Creator made to please himself.. . . Art is not the pastime of great men. . . A true likeness shows one in-side out; the leopard does not change the spot of the heart. Its color is seton the palette, and is the least refrangible one in our spectrum. The soul isphotographed on the face. If one has the gift to develop it by the processesof imitative art, the world is so much the richer for the result. The great por-traits of Raphael and Titian are soul tale-bearers no less than the terza rimaof Dante or the Sonnets of Shakespeare. . . . The life and works of Dantetally with his face. In the face of Cromwell the great frontal base of hisbrain, as left in his mask, and the power of his lower jaw, are the upper andnether millstones of his history. A true portrait is that incorrigible page ofhistory which neither justice nor mercy invalidates. It is the dead-level ofman amid fluctuating fashion and fickle opinion. God made man in his own
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FARRAGUT IN THE SHROUDS OF THE HARTFORD.From a Painting by William Page. p. 1T8. WILL/AM PA OE. 179 human image. So the soul creates its outer shell in likeness to itself. If theman is hid in his stature, it is the duty of the artist to pick him out. A few years ago Balzac exclaimed that he was ashamed of French paintersbecause their ignorance of the science of colors had caused their pictures tofade. Mon portrait par Boulanger, he wrote, est devenu la croute la plushideuse quil soit possible de voir; les couleurs etaient ou mauvaises ou malcombinees, et cest tout noir, cest affreux ! Nous navons plus des peintres.A portrait by one of the Scottish painters is said recently to have been takenfrom its position in the London National Gallery, transferred to a storeroomand hung upside-down in order to let the eyes in it run back to their normalplace. They had melted and were flowing. It is a well-known fact that thegreens in some of Ruysdaels and Hobbemas landscapes have changed intoblack

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