large/6923/diary_pilgrimage_1112_librivox_64kb_mp3/diaryofapilgrimage_13_jerome_64kb_65
large/6923/diary_pilgrimage_1112_librivox_64kb_mp3/diaryofapilgrimage_13_jerome_64kb
English
6923
This is how we used to look at pictures in the early stages of our Munich art studies. Now we use picture galleries to practise spurts in. THIS IS HOW WE USED TO LOOK AT PICTURES IN THE EARLY STAGES OF OUR MUNICH ART STUDIES NOW WE USE PICTURE GALLERIES TO PRACTISE SPURTS IN
t catch sight of it. As for pictures and sculptures, I am thoroughly tired of them. The greatest art critic living could not dislike pictures and sculptures more than I do at this moment. We began by spending a whole morning in each gallery. We examined each picture critically, and argued with each other about its "form" and "colour" and "treatment" and "perspective" and "texture" and "atmosphere." I generally said it was flat, and B. that it was out of drawing. A stranger overhearing our discussions would have imagined that we knew something about painting. We would stand in front of a canvas for ten minutes, drinking it in. We would walk round it, so as to get the proper light upon it and to better realise the artist's aim. We would back away from it on to the toes of the people behind, until we reached the correct "distance," and then sit down and shade our eyes, and criticise it from there; and then we would go up and put our noses against it, and examine the workmanship in detail. M FEELING WELL AND STRONG WHEN I FIRST CATCH SIGHT OF IT AS FOR PICTURES AND SCULPTURES I AM THOROUGHLY TIRED OF THEM THE GREATEST ART CRITIC LIVING COULD NOT DISLIKE PICTURES AND SCULPTURES MORE THAN I DO AT THIS MOMENT WE BEGAN BY SPENDING A WHOLE MORNING IN EACH GALLERY WE EXAMINED EACH PICTURE CRITICALLY AND ARGUED WITH EACH OTHER ABOUT ITS FORM AND COLOR AND TREATMENT AND PERSPECTIVE AND TEXTURE AND ATMOSPHERE I GENERALLY SAID IT WAS FLAT AND B THAT IT WAS OUT OF DRAWING A STRANGER OVERHEARING OUR DISCUSSIONS WOULD HAVE IMAGINED THAT WE KNEW SOMETHING ABOUT PAINTING WE WOULD STAND IN FRONT OF A CANVAS FOR TEN MINUTES DRINKING IT IN WE WOULD WALK ROUND IT SO AS TO GET THE PROPER LIGHT UPON IT AND TO BETTER REALIZE THE ARTIST'S AIM WE WERE BACK AWAY FROM IT ON TO THE TOES OF THE PEOPLE BEHIND UNTIL WE REACHED THE CORRECT DISTANCE AND THEN SIT DOWN AND SHADE OUR EYES AND CRITICISE IT FROM THERE AND THEN WE WOULD GO UP AND PUT OUR NOSES AGAINST IT AND EXAMINE THE WORKMANSHIP IN DETAIL
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