File:St. Nicholas (serial) (1873) (14587397030).jpg

Identifier: stnicholasserial322dodg (find matches)
Title: St. Nicholas (serial)
Year: 1873 (1870s)
Authors: Dodge, Mary Mapes, 1830-1905
Subjects: Children's literature
Publisher: (New York : Scribner & Co.)
Contributing Library: Information and Library Science Library, University of North Carolina at Chapel Hill
Digitizing Sponsor: University of North Carolina at Chapel Hill

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eto a friend, for a nature-painter. Painting iswith me but another name for feeling; and Iassociate my careless boyhood with all that liesupon the banks of the Stour; those scenes mademe a painter and I am thankful. This is thekind of spirit which, we have seen, inspired theDutch landscape-painters of the seventeenthcentury; and, indeed, their love of nature wasreborn in Constable. For in the lapse of time r™ ~ pictures—that the clouds might move and over-hang the spot, that its atmosphere might pene-trate every part of the scene, and that trees andwater, and the very plants by the roadside,might move and have their being in it; andsecondly, he put his own personal affection intohis representation. Then, too, in the matter ofcolor, which cannot be judged from the repro-duction, he dared to paint nature green, as hesaw it, and the skies blue, with the sunshineeither yellow or glaring white. It is, then, because of this closer faithfulnessto the hues of nature, and to the effects of
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ULYSSES DERIDING POLYPHEMUS. BY TURNER. their art had been forgotten; the Dutchmenthemselves, like the painters of France and Eng-land, had forsaken the direct study of nature foran attempt to picture the grandeur of the classiclandscape. Reynolds, who drew his inspirationfrom Italy, had set its stamp upon English por-traiture ; and Claude, the Italian-Frenchman,was the landscape-painter most admired. Constable painted the scene as he saw it, buthe was not satisfied with merely copying na-ture. It was to him so real a companion that,in the first place, he tried to make it live in his movement, of atmosphere, and of light, and be-cause he interpreted nature according to hisown mood, that Constable is called the fatherof modern landscape. For these are the qual-ities that particularly occupied the artists of thenineteenth century. On the threshold of this new movement stoodTurner, alone among his fellow landscape-painters, the most imaginative of them all, whowas less concerned with the

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