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On wall B are two canvases by Corot, both badly placed, one of which is typically poetic and beautiful. The examples by Daubigny and Rousseau on wall C are not satisfying. On wall D the two Monticellis suggest the source of some of the rich qualities of the work of Keith and similar American painters.
With the advent of bad health vanished the cunning of his hand. His paint coarsened, his colours became crazier. His pictures at this period were caricatures of his former art. Many of the early ones were sold as the productions of Diaz, just as to-day some Diazs are palmed off as Monticellis. After four years of decadence he died, repeating for months before his taking off: "Je viens de la lune."
It is an idea that grips one's imagination, but unfortunately it is an idea that gripped the imagination of others thirty years ago. Not an auberge, hotel, or hamlet has been left unexplored. The fine-tooth comb of familiar parlance has been sedulously used by interested persons. If there are any Monticellis unsold nowadays they are for sale at the dealers'.
I wrote of the Monticellis exhibited at the Comparative Exhibition in New York: "At the opposite end of the room there is A Summer Day's Idyll, upon which Monticelli had squeezed all his flaming tubes. It seems orchestrated in crushed pomegranate, the light suffusing the reclining figures like a jewelled benediction.
Many Monticellis have been sold by dealers as Diaz's; now they are more eagerly looked for than Diaz, and collectors have made fortunes with these small canvases bought formerly, to use a colloquial expression which is here only too literally true, "for a piece of bread."
He therefore confined himself to discussing with Dumetrius whether Monticellis would come again now that it was the fashion for a picture to be anything except a picture; and the future of Johns, with a side-slip into Buxton Knights. It was only when leaving that he added: "So they're not selling the Bolderby Old Crome, after all?"
He therefore confined himself to discussing with Dumetrius whether Monticellis would come again now that it was the fashion for a picture to be anything except a picture; and the future of Johns, with a side-slip into Buxton Knights. It was only when leaving that he added: "So they're not selling the Bolderby Old Crome, after all?"
He therefore confined himself to discussing with Dumetrius whether Monticellis would come again now that it was the fashion for a picture to be anything except a picture; and the future of Johns, with a side-slip into Buxton Knights. It was only when leaving that he added: "So they're not selling the Bolderby Old Crome, after all?"
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