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. 1906 Excerpt: …Some of these are delightfully original, literal renderings of the truths of effects of light on skin. We wish that his sensitiveness had not been offended by a careless remark, and had allowed him to continue. Retreating to the little village of Barbizon to escape the confusion and expense of the metropolis, he painted peasants because there was nothing else to paint and because they interested him. In telling the story of this heart-rending drudgery, mingled with the pathos of human sentiment, he never lost sight of the ultimate purpose, which was to make us feel what he felt. He did not delight us with clever rendering of stuff textures or any elaborations of the details of landscape, that we might be interested in his dexterity. All that he had to convey was the simple, somewhat rudely-expressed idea and that had to suffice. Brought up a classicist, he never quite abandoned the formulas of classicism, but concealed them in rudeness, directness of statement and abrupt technique. Long years of poverty and official neglect did not sour his temper, and finally the tide turned, honors came with the attendant financial rewards. Principal Works: The Gleaners, Death and the Woodcutters, Sheep Shearers, Man with the Hoe, Goose Girl, Potato Planters (Luxembourg); Wool-carder, The Sower (New York); Potato Harvest (Baltimore); Bringing Home the New-born Calf (Art Institute, Chicago); The Angelus. Jean Charles Cazin (1814-1901, French) will be popular for a long time. What history will say of his work, it is too soon to determine. Pleasing pictures he painted in enormous numbers, sometimes too hastily. All the actual colors of nature (local colors) he reduced to a tonality, a sort of mouse-color, delightful to see. Not a strong character, he was thoroughly artistic …