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Updated: September 30, 2026
A conventional background is no more an error in French classic painting than in tapestry; a perfunctory scheme of pure chiaro-oscuro is no blemish in one of Diaz's splendid forest landscapes; such phenomena in a work of Raffaelli or Pointelin would jar, because, measured by the standards to which modern men must, through the very force of evolution itself, subscribe, they can but appear solecisms.