How to study pictures by means of a series of comparisons of paintings and painters from Cimabue to Monet, with historical and biographical summaries and appreciations of the painters' motives and methods . VALLEY FARM (WILLY LOTTS HOUSE) JOHN CONSTABLE NATIONAL GALLERY, LONDON. CONSTABLE-TURNER ance of its sailors, peer into the distance and discoverexactly how each mass of cliff succeeds another—if, in aword, our eye could grasp everything and convey thefacts distinctly to our understanding, we should not en-joy the picture as we do. It is the sense of somethinghidden, of imperfect revelatio
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The Reading Room / Alamy Stock PhotoImage ID:
2AN69EGFile size:
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1267 x 1972 px | 21.5 x 33.4 cm | 8.4 x 13.1 inches | 150dpiMore information:
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How to study pictures by means of a series of comparisons of paintings and painters from Cimabue to Monet, with historical and biographical summaries and appreciations of the painters' motives and methods . VALLEY FARM (WILLY LOTTS HOUSE) JOHN CONSTABLE NATIONAL GALLERY, LONDON. CONSTABLE-TURNER ance of its sailors, peer into the distance and discoverexactly how each mass of cliff succeeds another—if, in aword, our eye could grasp everything and convey thefacts distinctly to our understanding, we should not en-joy the picture as we do. It is the sense of somethinghidden, of imperfect revelation, that is one of the sourcesof its enjoyment. And then the strangeness of the picture, —that archof rock, an actual aspect of nature, though an unusualone; the huge, roughly hewn figure of Polyphemus; asky, full of surprises to people who seldom see the dailypageantry of sunrise, —but it is less in detail than in gen-eral character that the picture is strange. The artist hastaken a theme of old times, when the world was youngand things loomed very big to its unformed imagination.For to the ancient child-mind the world seemed very big, and its empty, unexplored spaces, peopled with shapesand fancies that were vague and large. Whether it wasthe myths of old Greece, or