International studio (19.1903)

" It is not. My <rw?/h?7*.M' have always complained
of the complications and the difhculties of painting
in oils ; but it is quite the reverse with these paints,
whictr flow so freely that one can work away
without being pulied up by the necessity of con-
tinually remaking a tone on one's pafette. And
these iittle paint sticks, hard and firm in the fingers,
but soft and oity on the canvas, are quite fascinat-
ing and impel one to work. I consider that
most of the troubies and difBculties of the
77^/zif7- are removed by these coiours. Nothing
more to do with brushes, either too thick, or too
fine, or too hard, and never exactly right. There
is great sureness of hand with these colours, which
are heid right at the tip, and produce an immediate
dow upon the canvas. They produce tones which
have not to be redone ten tirnes when they are not
quite suitabie. AH that is necessary is to rub them
over lightiy with other shades, deiightful trans-
parencies being the resuit. Then they are iight

and convenient to carry ; and, I repeat, they make
painting an absolute delight—your picture takes
form before your eyes steadiiy, unceasingly. You
are really fixing there a vision, a picture of the
imagination. And all this with entire pleasure to
yourself, whereas in most works done with the
brush and liquid oils there is evidence of F7777M,
lassitude, and fatigue."
" And will this simple modification in the method
of painting really bring about so many diverse
consequences ? "
"Absolutely. Ihavenohesitation in declaring
it !"
"Our 777^7*, you see," said the artist, laying
down his colours, "our 777<r?Ar is oureloquence. If
the 777^7*—the technical part of our work—is
laboured all eloquence is aried up. If, on the
other hand, it is easy we can boldly express what
our heart would say. I assure you that the reason
why Greek painting Hourished less than Greek
^3