International studio (18.1902/1903)

art change, but art itself remains a compromise, and
the more earnestiy we try to represent faithfuity
what we see the more difHcuit is the task of finding
a compromise favourabie to the aim in view, and
yet in sympathy with the fact that the multi-
tudinous variety of Nature has never yet been
made reai by any pigments employed by men of
genius. Seiection is necessary, omissions are
essential; and will any impressionist be boid
enough to contend that his work is as vivid and
yet as grey as a landscape framed by a window
pane ? Or has he captured the sun's iight and
stored it up in paint ? Such contentions have been
made by hasty writers, but every thoughtfui
painter knows that the most advanced work of the
present day is only an old tune played in a new
key and in a different time. And one may aiso
note here, as another thing favourable to a just ap-
preciation of Girtin's old-fashioned greatness, that
Time, as weli as Nature, has frequently a sobering

inHuence on the most daring of advanced efforts.
Tones darken with age, the aiieged outdoor iight
within the paint dwindies, and instead of a Sisley,
iet us say, a Sisiey that once seemed an amazing
adventure in atmospheric truth and freshness, we
have a maturing Oid Master. Poor Sisiey ! To
end thus after such a stern fight to be something
quite different!
Girtin, again, the most daring pioneer of his time,
is now so oid-fashioned to many persons, so staid
with years, and out of date, that casual students
do not perceive that his work shouid be regarded
in the iight of a Sisiey painting in an eariier
time, and within the limitations set by a different
convention. His passion for working out of doors
in aii sorts of weather was equai to Sisiey's; and
there can be no doubt that the resuits of it
in his work made him the forerunner of the im-
pressionists. This may be seen by anyone. Study
his drawings in the British Museum, examine the


" CAYNE WATERFALL, NOR'l'U WALEs"

FROM TUE STUDY BY THOMAS GIRTIN


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