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Originally published in the early 20th century, this book offers an American perspective on the French art scene. Van Dyke provides biographical sketches of major French artists of the time, including Monet, Renoir, and Degas, and offers insightful critical analyses of their work. This book is a valuable resource for art historians and enthusiasts. This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
This Is A New Release Of The Original 1896 Edition.
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
Excerpt from Modern French Masters: A Series of Biographical and Critical Reviews HE painters' contention that no one but a painter is a com petent judge of a picture is not a new one. It was the Greek painter Apelles who advised the cobbler to stick to his last. Keep to the shop, friend, and do not attempt to criti cize what you do not understand. The rebuke was possibly deserved, but it might be used by almost any one in defense of his particular craft or trade. Had Apelles complained to the cobbler that his shoes did not fit him and were not well made, the cobbler could have retorted in kind: Keep to your palette, friend; you know nothing about shoes. In the same way it might be said that one who eats a dinner is not to criticize it because he is not a cook, and that the only competent judges of the poem and the novel are the poet and the novelist. The reductio ad absurdum of the principle might lead us to think that only brother craftsmen are to say that there are too few latchets to the goloshes, or that the sauce or the poem is too sweet. Yet the contention is not so absurd as might at first appear. The painter asserts a half-truth, if not more. He has mastered his craft, and he certainly knows more about it than one who has not mastered it. He knows the limits of materials and methods, he knows what can be done, and he knows after it is done whether it has been well done. In comparison with him the outsider is a mere tyro. The painter is undoubtedly the better critic of the technical features of painting. Few artists of rank at the present day will claim more than this. They are willing to concede that the final result of a work of art. 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.