QUALITY
at home in some forms of landscape art. Of this we have indubitable proof in the work of Claude and Turner and in the pictures of our own painters, Ranger, Dearth, and Bunce. One thing, however, must not be lost sight of. When the picture is intended to deliver a message—to convey some poetic or strongly dramatic "mood" of nature, the unreserved use of quality may lead to the pitfall of the double motive. But when the character of the subject is quiet and idyllic, the sensitive appreciation of surface beauty on the part of the artist and his dexterous manipulation of pigment to secure it is not only legitimate but practically mandatory. Some of the most enduring works of beauty in painting owe their charm almost wholly to this one thing.
It is sometimes objected that there are various receipts by the use of which
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