Луна и грош

Chapter XLII

           Descriptionsofpicturesarealwaysdull,andthese,besides,arefamiliartoallwhotakeaninterestinsuchthings.Nowthathisinfluencehassoenormouslyaffectedmodernpainting,nowthatothershavechartedthecountrywhichhewasamongthefirsttoexplore,Strickland’spictures,seenforthefirsttime,wouldfindthemindmorepreparedforthem;butitmustberememberedthatIhadneverseenanythingofthesort.FirstofallIwastakenabackbywhatseemedtometheclumsinessofhistechnique.Accustomedtothedrawingoftheoldmasters,andconvincedthatIngreswasthegreatestdraughtsmanofrecenttimes,IthoughtthatStricklanddrewverybadly.Iknewnothingofthesimplificationatwhichheaimed.Irememberastill-lifeoforangesonaplate,andIwasbotheredbecausetheplatewasnotroundandtheorangeswerelop-sided.Theportraitswerealittlelargerthanlife-size,andthisgavethemanungainlylook.Tomyeyesthefaceslookedlikecaricatures.Theywerepaintedinawaythatwasentirelynewtome.Thelandscapespuzzledmeevenmore.ThereweretwoorthreepicturesoftheforestatFontainebleauandseveralofstreetsinParis:myfirstfeelingwasthattheymighthavebeenpaintedbyadrunkencabdriver.Iwasperfectlybewildered.Thecolourseemedtomeextraordinarilycrude.Itpassedthroughmymindthatthewholethingwasastupendous,incomprehensiblefarce.NowthatIlookbackIammorethaneverimpressedbyStroeve’sacuteness.Hesawfromthefirstthatherewasarevolutioninart,andherecognisedinitsbeginningsthegeniuswhichnowalltheworldallows.

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