International studio — 81.1925

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THE LAST RAY Courtesy of R. C. Vose BY W. KOENIGER



andscape painting as An artist who has dedicated Claude Lorraine, Caspar
a separate art was first fag Hfe f0 fne depiction of Dughet, Jan van Goyen,

practised in the latter the American Landscape in s°Iomo" ™n ^d*d, and

part ot the sixteenth cen- • , a host 01 others bestowed an

tury. An exception to this Winter monttlS equal amount of care upon

rule are the number of land- Q FRANK MULl^ER both their landscapes and

scapes unearthed from the the figures which they

ruins of Pompeii. These show a genuine attempt thought necessary to round out and complete

on the part of the artist to reproduce the moods their pictures, one serving as a complement to the

of nature. The desire to depict the manifold and other. Jacob Ruysdael was one of the first to

ever-varying beauties of field, forest, mountain, paint nature unadorned. Nevertheless, many of

stream and valley did not again manifest itself the artists up to the time of Richard Wilson and

until the time of Giotto and his followers: Leon- Thomas Gainsborough were more botanists than

ardo da Vinci, Pietro Perugino, Raphael Santi, anything else, for it was their custom to endeavor

Giorgone, Titian, Joachim de Patinir, the Breu- to delineate every blade of grass and each leaf of

ghels, Adam Elsheimer and Nicolas Poussin, all of foliage with the extreme of painstaking minute-

whom, however, used landscape as a setting for ness. It remained for Constable to portray nature

historical and biblical subjects. Then Paul Brill, "without fal-de-ral or fiddle-de-dee," to use his

l wo

hundred ten

JUNE 1925
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