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Updated: June 21, 2025
The third volume, being devoted to the correction of the ideas of Style and the Ideal, to Finish, and a review of the Past Landscape-Painting, recurs to Turner in its closing chapter, "On his Teachers"; the fourth was given to Mountain Beauty, following the parallel of the first, which treated of the Truth of Mountains, and bearing as its burden of moral the expression of that Ideal by Turner; and the fifth now comes to conclude the investigations on the Ideal by chapters: first, on "Leaf Beauty," an exceedingly interesting investigation of the development of the forms of trees and plants as concerned with the laws of beauty; second, "Cloud Beauty"; and then of the "Ideas of Relation," in which the author comes finally to the demonstration of the right of Turner to his position amongst the thinking and poetic painters.
Of what use were landscape-painting, if it did not teach us how to look for beauty in the real landscape? Who has not seen in a good portrait an expression which he then for the first time recognized as that which best represented the character of the original? When we applaud the personations of a great actor, we exclaim, as the highest praise, "How true to Nature!"
And it is further interesting to note that the originator of English landscape-painting was also a great portrait-painter, and yet he dared paint portraits with absolutely no scenery back of them a thing which up to that time was done only by a man who hadn't the ability to paint landscape.
Paul, the younger brother of Matthaeus, was born about 1555, and died in 1626. His development in landscape-painting was remarkable. Gilles Sadeler, born at Antwerp 1570, died at Prague 1629, a famous artist, and nephew of two well-known engravers. Dick Turpin was born in Essex, England, and was originally a butcher.
This truth, that Nature is capable of such cooperation with the human, that she confines herself to no country or continent, and that her expressions are not relative, depending upon the suggestiveness of the human action to which they correspond, but are positive and under the rule of the immutable, enables the artist to evolve the first great class of simple landscape-painting.
The superior merit of CLAUDE in landscape-painting is too well known to need any eulogium, The three preceding are the finest of his pictures in this collection. However, at Rome, and in England, there are some more perfect than those in the CENTRAL MUSEUM. One of his chefs d'oeuvre, formerly at Rome, is now at Naples, in the Gallery of Prince Colonna. N deg. 54.
Wyld would have taught me landscape-painting if I had asked him, and I did at a later period study water-color with him; but his practice in oil did not suit me, for this reason: it was entirely tentative, he was constantly demolishing his work, so that it was hard to see how a pupil could possibly follow him.
I. Accumulation of sensorial power in hemiplagia, in sleep, in cold fit of fever, in the locomotive muscles, in the organs of sense. Produces propensity to action. II. Repetition by three sensorial powers. In rhimes and alliterations, in music, dancing, architecture, landscape-painting, beauty. Perception consists in imitation. Four kinds of imitation. 2. Voluntary. Dogs taught to dance. 3.
Every artist who reads this will now consider the above remarks no better than a commonplace, but in the year 1857 English landscape-painting was going through a peculiar phase.
The eldest my mother married an American husband. The second married an Englishman she is the mother of my fair cousin, Cara, there; the third and youngest married the third son of the Grand Duke of Maritzburg, at that time a quiet gentleman who loved the Champs Elysées and landscape-painting in Southern Spain."
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