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Chapter I

           Icannotagreewiththepainterswhoclaimsuperciliouslythatthelaymancanunderstandnothingofpainting,andthathecanbestshowhisappreciationoftheirworksbysilenceandacheque-book.Itisagrotesquemisapprehensionwhichseesinartnomorethanacraftcomprehensibleperfectlyonlytothecraftsman:artisamanifestationofemotion,andemotionspeaksalanguagethatallmayunderstand.ButIwillallowthatthecriticwhohasnotapracticalknowledgeoftechniqueisseldomabletosayanythingonthesubjectofrealvalue,andmyignoranceofpaintingisextreme.Fortunately,thereisnoneedformetorisktheadventure,sincemyfriend,Mr.EdwardLeggatt,anablewriteraswellasanadmirablepainter,hasexhaustivelydiscussedCharlesStrickland’sworkinalittlebookwhichisacharmingexampleofastyle,forthemostpart,lesshappilycultivatedinEnglandthaninFrance.

           MauriceHuretinhisfamousarticlegaveanoutlineofCharlesStrickland’slifewhichwaswellcalculatedtowhettheappetitesoftheinquiring.Withhisdisinterestedpassionforart,hehadarealdesiretocalltheattentionofthewisetoatalentwhichwasinthehighestdegreeoriginal;buthewastoogoodajournalisttobeunawarethatthe"humaninterest"wouldenablehimmoreeasilytoeffecthispurpose.

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