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This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1893 Excerpt: ...trace the various influences on a painter till he stands self-centred and develops his own mannerism. Mannerism--because art is a necessary convention, and each artist has his own conventions. But how is the young painter to enforce on the public a recognition of his qualities? Nowadays, and probably at all times, young painters have had to force their notes to attract attention, to make the public hear them amid the crowd of competitors. And when once they have secured attention they are unable to cease the use of the forced note, or revert to their natural range of voice. Hence it so often happens that they continue to produce, year after year, variations on the first picture which won them fame. Having once 'fired a pistolshot,' as the French say, to attract attention, they continue to fire similar shots to' the end of their days. They commence by eccentric mannerisms, by being bizarre, by insisting on certain traits and details at the expense of the whole, and their bizarreries become in time a second nature. Their exaggerations become mechanical, and at last a grimace. Art becomes a set of recipes. It often happens, indeed, that the painter is conscious of his mannerisms, and would gladly escape them, but the public will not let him. He has discovered a genre which pleases them, and they demand that he shall restrict himself to his speciality. Age, also, has a tendency to confirm mannerism; the painter grows inclined to spare himself the trouble of new invention and new study of nature, and finds it easier to copy himself than to copy nature, to design 'de chic,' and allow his hand to follow its wonted course. Nature seems almost a hindrance, and is consulted less and less. As Wordsworth would say, 'his eye is off the object.' Moreover, the fountain of...
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