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Cooper and Hoskins were famous miniature painters of the day. Samuel Cooper was a nephew of John Hoskins, who instructed him in the art of miniature painting, in which he soon out-rivalled his master.
I went to look at the painters every time my feet were for taking me to look at the garden; I trotted diligently up and down the passages; I criticised and suggested and commanded more in one day than I had done in all the rest of the time; I wrote regularly and sent my love; but I could not manage to fret and yearn.
"Nobody ever does do anything worth doing nowadays," she remarked. "You see" she tapped the volume of her grandfather's poems "we don't even print as well as they did, and as for poets or painters or novelists there are none; so, at any rate, I'm not singular." "No, we haven't any great men," Denham replied. "I'm very glad that we haven't. I hate great men.
The series of little pictures which Gozzi has left us of those days, when upon his return from Dalmatia he realized the abasement into which the family had finally fallen, are most vivid, and remind us of the honest realism of the Dutch painters. And the charm of Gozzi's writings lies precisely in that sense of genuineness which more than anything else inspires us with trust in a writer.
They are obliged to yield to the scheme simply because the scenario writers are still untrained and clumsy in using the technique of the new art. Some religious painters of medieval times put in the picture itself phrases which the persons were supposed to speak, as if the words were leaving their mouths.
It isn't true that life is always beginning over again. How bitter, to have known the Tuileries in 1860, and to have reached the point where I am now! I took them to a ball at the Grande Chaumière. There was a crowd of young painters, models, students. In the midst of the uproar, several couples danced the cancan till the chandeliers shook with it.
He seems less an interpreter of the earth than one who sought after a fantastic world which had been created by Swinburne and the Parnassians and the old painters and the tellers of the Arabian Nights. "He began," Mr. J.C. Squire has said, "by being more interested in his art than in himself." And all but a score or so of his poems suggest that this was his way to the last.
The negligence or slovenliness, whether in the man or the artist, did not interfere with an immense capacity for work, such as it was, but if Horace Walpole be right, that Kneller employed many Flemish painters under him to undertake the wigs, draperies, etc. etc., the amount of work in portrait painting which Sir Godfrey Kneller accomplished is so far explained.
We have seen in an earlier chapter how certain painters in the nineteenth century, feeling how very second-hand and far removed from nature painting had become, started a movement to discard studio traditions and study nature with a single eye, taking their pictures out of doors, and endeavouring to wrest nature's secrets from her on the spot.
If it be exact to speak of the "romantic school" at all, it should be borne in mind that its adherents were men of the most marked and diverse individualities ever grouped under one standard. The impressionists, perhaps, apart, individuality is often spoken of as the essential characteristic of the painters of the present day.
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