Identifier: internationalstu10newy08 (find matches)Title: International Studio an Illustrated Magazine of Fine and Applied ArtYear: 1908 (1900s)Authors: Subjects: Publisher: New York. John Lane CoContributing Library: Brigham Young University-Idaho, David O. McKay LibraryDigitizing Sponsor: Brigham Young University-IdahoView Book Page: Book ViewerAbout This Book: Catalog EntryView All Images: All Images From Book Click here to view book online to see this illustration in context in a browseable online version of this book.Text Appearing Before Image:edhim with faint praise. But is there not anotherand more natural explana-tion of the changed attitudeof the art world to theScottish painters work, vi/.,the perception in it, moreor less conscious, of somekinship with current idealsand methods? From 1825to 1875 ^^^ trend of Eng-lish painting was not to-wards portraiture. Theromantic movement whichhad so profoundlyaffected literature had set XXXIV. No. 133.—March, 1908. painters also a-dreaming. The greater talents wereabsorbed by branches in which, it was thought, theartistic faculty had freer scope. What wonder thatRaeburn, who had never associated himself with thewider field of art, as so many portrait painters havedone, was left severely alone, as a somewhat pro-saic exponent of a prosaic department of the art.And, what bears specially on our subject, hismethods were not those which commended them-selves to early and mid-Victorian art. There is infinite variety in the means paintershave chosen to express themselves, but, roughlyText Appearing After Image:THE BOY ANU RABBIT I!Y SIR II. (Royal Academyt Diploma Gallery) KAEBLRN, R.A. Raeburns Technique speaking, these may be divided into the direct andthe indirect; the former used by those whose tem-perament disposes them to place their impressionson the canvas at once, the latter by artists who seekthe same end by successive processes. Till quiterecently the technique of painting in these islandshad been mainly derived from the practice ofItalian and of Flemish masters. These influences,nationalised, as one might say, in the triumphs ofReynolds and Gainsborough, alike favoured theless direct methods which dominated British arttill about 1850: and though Pre-Raphaelitisminaugurated a new manner, it had little more incommon with the seventeenth-century precursors ofthe simpler vision. It was the revelation of theunity of lighting which came to Gluck and hisassociates in 1849* that heralded the change,and, as true relation oftone on which the pleitiair system rests is mostreadily attainedNote About Images Please note that these images are extracted from scanned page images that may have been digitally enhanced for readability - coloration and appearance of these illustrations may not perfectly resemble the original work.

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