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It does not matter how badly you paint, so long as you don't paint badly like other people. Education destroys individuality. That great studio of Julien's is a sphinx, and all the poor folk that go there for artistic education are devoured. After two years they all paint and draw alike, every one; that vile execution, they call it execution, la pâet, la peinture au premier coup.

"Il faut faire de la peinture nouvelle," was his watchword; but if time and experience had continued his education, if he had been granted health to return from these excursions to the steady and the central, I must believe that the name of Hills had become famous. Siron's inn, that excellent artists' barrack, was managed upon easy principles.

He will watch from dawn to gloom The lake-reflected sun illume The yellow bees in the ivy bloom; Nor heed nor see what things they be, But from these create he can Forms more real than living man, Nurslings of immortality. See De Stendhal, Histoire de la Peinture en Italie, p. 143, for this story. In the Treatise on Painting, da Vinci argues strongly against isolating man.

And the square brush mark lingered, and much was heard of the broken brush mark, and values had not ceased to be absorbing, nor la peinture au premier coup and la peinture en plein air to be wrangled over.

But what if they should take it into their heads to prefer the ancient peinture, with all its poverty of colouring, to the rich and finished style of the moderns? The former, I suppose, must be again adopted, to compliment their delicacy, and the latter rejected. But these pretended connoisseurs regard nothing but the mere name of antiquity.

"La faim, les créanciers, les soldats, la corvée, Lui font d'un malheureux la peinture achevée." You see that your soldiers of 1858 are angels in comparison with our soudards of the monarchy.

He looked at me in the same way without answering, and I went on with deliberate urbanity, "I suppose you are at the studio of one of those great men." Still he looked at me, and then he said softly, "Gérôme." "Do you like it?" I asked. "Do you understand French?" he said. "Some kinds," I answered. He kept his little eyes on me; then he said, "J'adore la peinture!" "Oh, I understand that kind!"

Heath Wilson, after careful examination, pronounces that not only time, but the wilful hand of man, re-painting and washing the delicate tint-coats with corrosive acids, has contributed to their ruin. Histoire de la Peinture en Italie, p. 332.

Elles leur prouveront qu'en Belgique l'état florissant de certaines manufactures y avôit fort avancé l'art de la peinture et du dessin. Mais je reviens aux trois traités de notre volume.

Immediately after breakfast husband and wife sit down at their easels. "Let me mix a tone for you, dear," "I think I would put that up a little higher," etc. In a word, what Manet used to call la peinture a quatre mains. Nevertheless, among these well-intentioned ladies we find one artist of rare excellence I mean Madame Lebrun.