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Les diagrammes suivants illustrent la m^thode. 1 2 3 1 2 3 4 5 6 # .-.:'• '. I ay.-..^ vvXiO o-TJ-Tr. OIL Ab[D WATER COLOUR PAirTT: r^o. W O mc S O T' >V Ti T , i.r.N I 1 ()i: riir. hha^iun. \ni) Kxnd'.nr.n at tui: mi-.cu anto' hai. r.. WONTPvEAL, ri;r.UL"Ai: V or i -i..v l''l.,rii ■ih'u-' , '•■.'■r,./,; (■:■_.. "i i,' ;,.-..■ .l'.' „.,/).v i rr.itM.i> ■^ri'.w: i-i;!-;.--, -l-'y.) :...i":i: ii\'.:,. "Ttir.f.T, I S ."( . f ri;ii.i: itn : 1 .•^..^X^mtfrn-mK. .«h4»au.,t i ^xt Ss:S:afl]viioa (fixMHti-Wi, ^'■ 18 G5. c.A.'X'.A.r.o a-"U"£2 or OIL AND WATER COLOUR PAINTINGS E.VGIIAVINGS, PILOTOURAPilS, AM) or III; 11 ■WOKlitS OF A-ilT, li;nt foil Tin; dwamox, .\si> EXllIUITED AT TIIK MECHANICS' HALL, MONTRSAL. I'EIJKI'AUY -J 7, iitio. C'uncli 'fldiid iitCi'it'r'^'t. i.r;;.v'f;i^ jiritiut-i patine. jnoiitrt:il : lIKlliLD STEAM I'itlir^S, 209 NOXr.E DAilE STKEET, 18 G.J. • • r9 • • OIL PAINTING. I. in otic tiotnMo v.ny Kiifjlisli ait ililTeM I'rum llint of nil other European schools. '1 ucy hiivo tlioir root iiior« oi' kss in niuiliaival tinii;s ; our'), in moJerii. Thiy nro iiiflupiK'cJ in stylo or siiliji'it liy luitivn larliir niu.stoi'.s; we, by fonigners only. Our eightpenlli tentury [jiiiiiti'iH haJ to ciciti- tho Iji'lieT lh.it KiipIanJ \\a* ublo to prodtico Art: Itiily, J'laiii-o, Cliniii.iiiy iiinl tho Ai'thcrliitiiU coulil point to torinur triiiiiipha with piiiii', or atmly thiin with cmul^itioii. Tho kiy to the tirst period of tho Kiigllsh Kcl'oul is (riven hy this |i( ciiliiir position n[ ciriiimstnucos. II. It is not iiitcniJeil, in thi.H nnil llin rollowln? siMiunruii'S, to p'lvv n ci\tiiln<;iio of nnines, or ntlempt to chunicterizo every p.iintcr n-prcscuted in tlio Kxhibitiouj but to >ki'(< li llio >ijirit of e:icli Si liool in its nwiiii phases, witli tiio t".ines thiit guiiled its development. This will l>o done best by I'ollowinff tho cnursa of tho fjrenter artists; lor these, like the fjre.itcst men or pre^itest books of any p''riod, not only einbraeo the niuis of inl'i rior minds, presenlinj: them in n I'liirer und clearer form, but iidd to wlmt they conld do, nil IJKit lies within the preroj/ntive of penins. Four such nun — a hirpo iiuniher for one century — oeenr in thw eighteenth: — llo^'arth (lO'JT— ITtil); Wilson ( 17 i:;—17--J) ; KeymdJs (17','3— IT'JC) ; Ciainsbor- (ii(,'h (17'J7 — I'm). Thus the life of tiaiu>boroni;h, tho Inttst boru, covers thirty- seven ye;\;s of the life of llogaith, the enrliest. Mow then did previous Art aiii'ot these cie:it conteiirpoiiiries ' I!y wh:it e'ements oi thi'ir own did they lotuid nu y.npi'iisli sehool in i» country whieh h.id hithi'rto known little but tho imtiirulizeJ art of Holh 'in and Ziiceuvo, — of Kuliens, Vandyke, Lely. or Knellcr ? How far did they carry nntivo painting ' A reply to tlle^e empiiiies will at onco contain the essential plory of the llriti>h art of the last century, and prepare us, in souio decree, to understand that of the present. III. In his lil'e cot less than in his works, Jfopirlh present.^ a sturdy protest r.painst all previoii; slyles. No nuiu more distiiu-tively nnd decidedly original and creative — not evin Chidias of Athens, or (iiolto of I'lorente, — ever handled art: Eo one, for ^'ood oi for evil. >.as ever less alfioted hy pro-e\istinff iuUueuces, or by cnutenipura.y criticism. The uioilern art of JOnvopii began as completely with him as its nioii'Tu poetry \^\\i l->ante j and ns Dante's fellow-couotrynieu were at tirst unable to helieve that a great jioem eouhl be writtin in their mother tongue, so Hogarth's were inerediilous tiiat Knglund could produce a painter. Ho tirst. with a serious an I widely-extended scheme, [Uit into painting what Fielding put into uovtd-writing ; lo' broii^.'ht the canvass down from mythology and pageantry, fiuJ made it tell tiie real story of common Ut'u. — its patlios, lis lucaune-s, faihioui, humours, tears, laughter, triumphs, and dipths of degn'.dntion. Chi>vui, 'ops, lords, rebels, polititians, gan\h|i'id, laljonrer.s, soldiers, brides, mistresses, speud- thrit'ts, poets, musicians, madmen — nay, the very wigs and nueues and walking- sticks of the age, — all move and live on tho stage of bis marvellous theatre. In a sense true of no olbei artist, noga-th held up his uurror to nature, and gave b.ick tho form aud pressure of the time with a strength only equalled by his subtlety, bleikespearo (idways exce])tional) excepted, no artist, not even Cralbe, htis drawn so nuiuy characters for us, has given us so much healthy laughter — so much of ' the .sorrowing by which tho heart is mado better.' Yet, iii this prodigality of power, one thing is wanting — not pcrh.ips to hi* mind, but to his pictures, — th" charm of beauty is not conspicuous here. Occasional loucheM of grace or repose occur, the .seventy is not without sweetness; yet the liigher Kphcre of lovliness is harijly reached ; there is no char .scuse of the poetry of nature. Through 1ms stern, honest-hearted rejection of Italian mt, abused aud ill-estimated as he saw it by the iiieu of timte about him, ho missed this gift in marked intensity. IV. Not so with Hogarth's iminediato successors. The seuao of beauty, the lovo of innocence, — no artists have enjoyed these nioro deeply than Kcynohls and Gains- borough i nor in management of color, in light and shade, in gracufulness of liaa, juJ deliucatiou of charttclor, have they been often etpialled. Their art, iu tecLnkal •f • c 'C >^ c d I 9 g "i i j: ■" i •- i "3 — • - t. ... 1 . . — i ? iM •* t. ? -* Si "^ t w"" ^ *« r ?- s ■ >? i! i«. 2 •; Si; c i" 2 - '■ ►-. 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