Girls sliding the waterfall at Papasea, Samoa, by John La Farge

Girls sliding the waterfall at Papasea, Samoa, by John La Farge
Identifier: internationalstu38newy (find matches)
Title: International studio
Year: 1897 (1890s)
Authors:
Subjects: Art Decoration and ornament
Publisher: New York
Contributing Library: Robarts - University of Toronto
Digitizing Sponsor: University of Toronto



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ch we have dreamed of, which we knew before. It is the recall of all the It is very difficult for the observer who has not solemn dispositions of light and space which have tried to create with lines and spaces a visible in-come down to us from all time. In such landscapes terpretation of life to understand how this ap-hehas placed figures under influences equally divid- pearance of reality and the mechanism of a pic-ed. They are placed as if they had been really seen; tures composition can be so closely related, andthey have the look of realism very often and they it is, of course, of the essence of the painters taskare so seen in that they are intimately associated to conceal the relation. That it should be sowith the space that holds them, with an accuracy necessary to the artistic result indicates the extentfar beyond that of the majority of the most accurate to which the artist who produces the look of realityrepresentations. They are so placed that they is equipped for his work.
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Wain Color Drau-ing GIRLS SLIDING THE WATERFALL AT PAPASEA, SAMOA BY JOHN LA FARGE could move; they do not look as if the painter hadchosen their position, but look as if he had onlyrecorded what he saw, and at the same time inreality they are a part of the mechanism of the When Mr. La Farge comes to record the life ofsuch places as Japan and the islands of the SouthSeas, where, in a way, his pictures of the past came true for him, where he saw ancient Greece make up of the picture which could not do without and the long traditions of the Orient appear againthem. in beauty, he made accurate studies and sketches, LXXXVII John La Farge many of them in color, which should preserve forhim and for others the beautiful material for pic-tures which he had found. Yet even in these notesof postures and types, of curious ceremonials anddances, which he meant only for simple, faithfulchronicles and not at all for pictures, in theartists strict sense of the term, his selection hasbeen so guided b