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Excerpt from Fifty Years of Modern Painting, Corot to Sargent I am not concerned just now to argue the point. I will only express my gratitude to both. But Constable's frank enjoyment of nature gave great Offence to his contemporaries. He painted the sparkle Of sunshine on wet leaves, and it was derisively called Con stable's snow. Chantrey, one varnishing-day, took a brush and passed a brown glaze over it all Sir George Beaumont took Offence because Constable, who loved the spring and the summer, painted the woodlands green, as he saw them in those seasons, and did not put in the brown tree of the conventional recipe. The painter who suffered thus from tradition might well fear that it would soon have a fatally deadening effect on art. A general comparison Of past and present would help to confirm his fear. The great race Of portrait painters had passed away, leaving a much feebler succession. Reynolds and Gainsborough were long dead; Romney only more recently; Hoppner died in 1810; Raeburn in 1823; Lawrence had still several years to live but he does not rank with those who have already been mentioned. Only the student easily calls to mind the next generation of por trait painters. Howard, Hilton, and Haydon, the painters Of historical subjects, however we may estimate their success, were still seeking to emulate the great Italian masters Of the late Renaissance. This is true also Of Etty, though he ranks high as a colourist, and was an enthusiastic painter Of flesh. The painters Of genre subjects, Wilkie, Mulready, Leslie, and others, worked according to academic rule; and one need not be hostile to the subject in art to weary Of their generally commonplace treatment Of trivial subjects. By the great majority of the painters Of this period, neither nature. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

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