[Libonion-development] --in each case the

[Coco N. <myo...@wo...>]

D Mr. Weir. But Mr. Hassam, at his best, is a designer with a sense of
balance and of classic grace almost equal to that of Corot, and he often
uses the impressionist method to express otherwise the delicate shimmer
of thin foliage that Corot loved. Nay, so little is he a pure
naturalist, he cannot resist letting the white sides of naked nymphs
gleam among his tree trunks--he cannot refrain from the artist's
immemorial dream of Arcady. As for Mr. Weir, surely nothing could be
more unlike the instantaneousness of true impressionism than his
long-brooded-over, subtle-toned, infinitely sensitive art. There is
little dreaminess in the work of Mr. Tarbell and the growing number of
his followers. Theirs is almost a pure naturalism, a "making it like."
Yet, notably in the work of Mr. Tarbell himself, and to some extent in
that of the others, there is an elegance of arrangement, a thoroughness
in the notation of gradations of light, a beauty and a charm that were
learned of no modern. Their art is an effort to bring back the artistic
quality of the most artistic naturalism ever practised, that of Vermeer
of Delft. Others of our artists are going still further back in the
history of art for a part of their inspiration. Mr. Brush has always
been a linealist and a student of form, but his earlier canvases,
admirable as they w