. The art of the Louvre, containing a brief history of the palace and of its collection of paintings, as well as descriptions and criticism of many of the principal pictures and their artists. than weak imitations ofPrudhon. His later years were given entirely to thepainting of landscape, or, more definitely treescapes,and it is in these that he shows himself the poet whohas something to say that no one else has said was the gold-tipped brush that caressed with Midas-touch the path through the heart of the forest, thehuge trunks of oak, and sycamore, the swaying slenderbirches, and
. The art of the Louvre, containing a brief history of the palace and of its collection of paintings, as well as descriptions and criticism of many of the principal pictures and their artists. than weak imitations ofPrudhon. His later years were given entirely to thepainting of landscape, or, more definitely treescapes,and it is in these that he shows himself the poet whohas something to say that no one else has said was the gold-tipped brush that caressed with Midas-touch the path through the heart of the forest, thehuge trunks of oak, and sycamore, the swaying slenderbirches, and filled these hidden forest glades with ashimmering golden haze that threw its tone over gipsiesor dryads or Orientals or peasants, with impartial is always summer in the depths of these forest glades,and the quivering dancing sunlight that turns the trunksalmost to gold is a hot, pulsing light, full of the fierysouthern breath that on the bare plain would be fairlyintolerable. Piercing through the thick canopies ofpacked leaves and twisted branches, it loses its blastingheat and only warms, lights, glorifies. That seems tobe its province in all of Diazs greatest pictures. The. THE BOHEMIANSBy Diaz Salle t>enrf if. 331 densest wood, the dimmest glen, the heaviest branches, themost gnarled and bent of tree-trunks, all are transformed,transmuted, with this golden aroma of dazzling sunlight. These are the attributes of his greatest works, andone can see in his Birch-Tree Study in this room howhe revelled over the great trunk, his stem pictureas he used to call each new canvas, how he loved it,caressing it with his shimmering sunlight, studying it,brightening it. Over and over again he painted almostthe same trees, the same glen, ever trying to approachnearer his poets vision. In The Bohemians the idea is the same as in the onein the Boston Art Museum, but it is carried out dif-ferently. In the Boston picture the train of gipsies, inspite of their great number, is only,
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Keywords: ., bookcentury1900, bookdecade1900, booksubject, booksubjectpainting
