File:Jules Bastien-Lepage and his art. A memoir (1892) (14581378640).jpg

Identifier: julesbastienlepa00theu (find matches)
Title: Jules Bastien-Lepage and his art. A memoir
Year: 1892 (1890s)
Authors: Theuriet, André, 1833-1907 Clausen, George, b. 1852 Sickert, Walter, 1860-1942 Blind, Mathilde, 1841-1896
Subjects: Bastien-Lepage, Jules, 1848-1884 Bashkirtseff, Marie, 1860-1884 Realism in art
Publisher: London : T. F. Unwin New York, Macmillan
Contributing Library: University of California Libraries
Digitizing Sponsor: MSN

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e developed itself from his work,whether it is possible to attain literal truth withoutleaving on one side much of that which is mostbeautiful in nature ? And further, the question arises,whether literal truth is the highest truth. Forrealism, as an end in art, leads nowhere ; it is animpasse. Surely it is but the means to whatever theartist has it in him to express. I feel convinced that realism was not the end withBastien-Lepage. I believe that his contribution toart, great as it was, and covering as it does an amountof work which might well represent a whole lifeswork instead of the work of a few short years, wasbut the promise of his full power, and that, had helived, his work wrould have shown a wider range ofnature than that of any other artist, except perhapsliembrandt. But it was not to be. AS ARTIST. 127 He gave his best, and the world is richer for hiswork ; his name will not die. Quiet consummation have ;And renowned be thy grave. GEORGE CLAUSEN. MODERN REALISM IN PAINTING.
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The Little Sweep.By Juki Bastien-Lepage. MODERN BEALISM IN PAINTING. MUCH has been written about Jean FrancoisMillet, and mostly from two points ofview. The picturesque surroundings ofthe plain of Barbizon and the peasants blouse havetempted the sentimental biographer to dwell on thepersonal note of poverty, which we now know was notthe dominant one in Millets life. The picturesquewriter lias amplified, with more or less intelligence,reflections suggested by the subjects of his pictures.In all this, the painters point of view, which is, afterall, the only one that matters, has, so far as itsexpression in print is concerned, been overlooked andomitted. The important fact about Millet is not that hestruggled with poverty, or that he expressed on canvasthe dignity of labour, but that he was a great artist.As corollaries, he was a great draughtsman and a greatcolourist. He was gifted with the comprehension in 134 2I0DEBN REALISM IN PAINTING. its entirety of the import of any scene in natu

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