Chapter 3
=Questions to help the pupil understand the picture.= What kind of a dog is this? What has he done? What makes you think he and the little girl have been in the water? that there has not been a shipwreck? Why do you think the child had not been wading? How is she dressed? How do you suppose she happened to fall into the water? How could this dog save her? Where do you suppose the child's playmates and nurse are? Where is the dog lying? Why does he not take the child to them? What makes you think he is tired? How are Newfoundland dogs sometimes trained in France? Tell about the washwoman and her baby. How was the baby rescued? Why could the mother not take the child? What did the boy do? What happened then? When were they released? How do Newfoundland dogs sometimes punish small dogs that annoy them? Why do they not drown? Tell about the two boatmen and their wager. Tell about the dog and the lady's parasol. What do these stories tell us about Newfoundland dogs? What other kind of dogs save many lives? What did the Newfoundland do at the dog pound? How do they sometimes resent abuse? Tell about the boatman and his dog. Upon what island are they used to carry burdens? Tell a story showing that duty comes first with these dogs. What other picture of this dog has Sir Edwin Landseer painted? Why do you think he was especially fond of Newfoundland dogs?
=To the Teacher:= Short stories of the bravery and faithfulness of dogs may take the place of other talks on kindness to animals.
SUBJECTS FOR COMPOSITIONS
A Description of a Newfoundland Dog. How a Dog Saved a Child from Drowning. The Smartest Dog I Ever Saw. The Bravest Dog I Ever Heard of. A Description of a St. Bernard Dog. How to Treat a Dog. Why We Should Be Kind to Dogs.
=The story of the artist.= When Edwin Landseer was a small boy he lived in the country. Nearly every day at breakfast the father would ask his boys, "What shall we draw to-day?" The three boys would take turns choosing and sometimes they would vote on it. Then out across the fields the father and his boys would tramp until they came to where the donkeys, sheep, goats, and cows were grazing. Each would choose the animal he wished to draw; then the four would sit down on the grass and make their sketches. Edwin's first choice for a subject was a cow, and his father helped him draw it.
When he was five years old he drew a picture of a dog asleep on the floor that was very much better than any his older brothers could do, and so even then they began to expect much from him.
At this time Edwin had three dogs of his own named Brutus, Vixen, and Boxer. They were always with him, and so intelligent they almost seemed to speak.
In their back yard the children had several pens for pet rabbits and they kept pigeons in the attic of their house. The story is told of how Mr. Landseer once decided to move, selected the house, and thought all was settled, when the landlord refused to rent the house to him because he kept so many animals and birds as pets.
We read of how the father and his sons made many visits to the Zoölogical Gardens where they could watch and make sketches of lions, bears, and other wild animals. One day they saw a strange sight in one of the store windows in London--a large Newfoundland dog caring for a lion. The lion had been caught in Africa when it was very little and had been cared for by this dog. They had never been separated. Now, although the lion was much larger than the dog, they were still the best of friends.
Sometimes the dog would punish the lion if it did not behave, and the great beast would whimper just as if it could not help itself. All three boys made many sketches of this strange pair and could hardly be persuaded to leave the window.
Every one knew of Sir Edwin Landseer and wanted some one of his pictures of dogs because it looked so much like a dog they knew.
In the story of the picture "Highland Shepherd's Chief Mourner," are further particulars of the life of Sir Edwin Landseer.
=Questions about the artist.= What other picture have we studied by this artist? Tell about Sir Edwin Landseer's boyhood. How did the brothers decide where to go to sketch? How old was Edwin when he drew a very good picture of a dog? What was the dog doing? Tell about Edwin's dogs; the other pets. Why did the landlord refuse to rent Edwin's father a house? Tell about the Newfoundland dog and the lion. What else can you tell about the artist's life?
PILGRIM EXILES
=Questions to arouse interest.= Describe this picture. Where are these people? Who are they? Who were the Pilgrims? Where are they looking? Why do you think they may be homesick or sad? What time of day do you think it is? (Notice the shadows.) What time of year does it seem to be? How is the man dressed? the two women? What relation do you think these people are to each other? Upon what is the older woman sitting? What can you see in the distant background?
=Artist:= George Henry Boughton (bô´´t[.o]n). =Birthplace:= Norwich, England. =Dates:= Born, 1833; died, 1905.
=The story of the picture.= We all know how, long ago, that sturdy band of one hundred and two Puritans left England in the small and storm-beaten ship called the _Mayflower_. They were called Puritans because they were dissatisfied with the religion of the Church of England, and demanded purification of all the old observances and doctrines.
When they began to establish in England separate churches of their own, they were driven from place to place. They longed for a land where they could worship God in their own way, so they came to America, determined to endure every danger and to trust in God to care for them. Their wanderings from place to place had given them a new name, "Pilgrim," which means "wanderer." Then, ever since their landing on the rock at Plymouth, they have been called Pilgrim Fathers.
There were many women and children in this band of wanderers. On the journey a little baby was born and was called Oceanus after the great rolling ocean.
The Pilgrims endured many hardships in those first few years, and none more distressing than the frequent attacks by the Indians, who resented the strangers' presence in a land which belonged to them. The Pilgrims carried their guns with them even when they went to church, for they never knew just when they might be attacked.
They arrived in the fall of the year, too late to plant grain or to put by enough provisions for the winter, so they were quite dependent upon the provision boat from England. Often this boat was long delayed because of storms at sea, or because the people in England did not send it on time. This caused much suffering and distress.
In our picture we see three of the first settlers of our New England coast, waiting for the provision ship. The waves come rolling in to this rough and barren shore, but as far as the eye can see there is yet no sign of the awaited boat. On that point of land in the distance are a few rude houses which must be the homes of the Pilgrims. This dreary place, so bleak and barren, makes us wonder how they could ever hope to survive the perils of a winter there.
Our interest is centered upon the three figures at the right in the picture. One can almost read the thoughts expressed in the three faces. The figure of the man stands out strong and erect, and there is that in his fixed gaze which tells us his thoughts are far away. No doubt he is thinking of his old home across the ocean. He is homesick, yet go back he would not; there is no sign of discouragement. His wife, standing beside him, places her hand on his shoulder to comfort him, but she too looks as if she were thinking of that other home and the friends across the sea. Her gentle, refined face is saddened for the moment, yet in it we see expressed the fine courage which has carried her thus far along the way.
The mother, seated on the great rock, has the same thoughtful, far-away gaze. Her hands, clasped in her lap, have more of resignation and patience in them. Probably her thoughts and affections are centered in the two dear ones beside her, and in their welfare, rather than in the friends across the sea.
Notice the Puritan dress, cloaks, shoes, caps, and collars. These people are well dressed, and do not seem to be poor. Perhaps they are simply longing to hear from their friends, and hoping the ship will bring some news of them. It may be that it has been due for several days, and each day they have walked out to this same rocky point, hoping to see it on the distant horizon.
They are dressed in warm clothes. From that fact and from the half-bare branches of the bush that we see growing beside the rock in the foreground of the picture we should judge it to be the fall of the year.
Standing in the bright sunlight, they look anxiously out toward the rolling ocean. The length of the shadows makes us think it must be late in the afternoon.
When at last they catch a glimpse of the dark masts of the approaching ship they will send a glad shout along the shore, and soon the beach will be crowded with an anxious throng of people hoping for some message or news from home.
At what seems to be a long distance from the shore the great ship will cast anchor and send out its rowboats filled with passengers, mail, and provisions. How eagerly the homesick people will crowd around the new arrivals and welcome them! Our three friends will not be standing quiet and alone, but each will be hurrying about to help the others. The spirit of helpfulness was very strong in those days of hardship and toil.
Notice the arrangement of lights and shadows in this picture. Our eye is first attracted to the faces of these three Pilgrims, then carried almost in a circle to the ocean, the rocks at the left side of the picture, to the rock the mother is seated upon, and back to the three faces. Start where we please the play of light leads us back to the three faces brought out by the white collars. Suppose we start with the mother's hands, our eyes follow her apron, the man's shoes, the light on the grass and ocean, then to the man's face and on around. Without these echoes of light, the picture would be unbalanced and much less interesting.
Half close your eyes and study the picture. There is not a single straight line in the composition. Notice the placing of the horizon line, of the distant shore. The artist started his landscape much as we do, with a rectangular space divided into two parts by the horizon line. He chose for his picture a small division for sky; the larger space to be divided into less than half as much water as land. Instead of standing so the shore line would appear exactly horizontal, he chose a position where the near shore line and that of the distant point of land are at an angle, thus relieving the monotony.
The tall, determined figure of the man, and his gentle wife, standing silhouetted against the sky, hold the ground space and the sky space together, while the mother seated on the rock serves as another connecting link. All the figures serve to unite the different parts of the picture into an effect of unity most gratifying to the eye.
=Questions to help the pupil understand the picture.= Tell about the Puritans. Why were they so called? Why did they leave England? In what boat did they sail? To what country did they come? Why were they then called Pilgrims? Why did they have such a hard time in this country? Upon what were they dependent? Why was the boat often delayed? What are the three people in our picture waiting for? What do the expressions in their faces tell us? How can we tell what time of year it is? the time of day? What will they do when they see the boat? Who will join them? Where will they come from? What can you see of their homes? Why are they so anxious to have the boat come? Why cannot the ship land at this beach? How will it land its passengers and freight? What do you suppose these three people will be doing then? What can you say of the composition of this picture? What did the artist consider first? What holds the ground and the sky spaces together? What can you say of the light and shade in this picture? Why is the picture called "Pilgrim Exiles"?
=The story of the artist.= George Henry Boughton was born near Norwich, England, but when he was only a year old his parents came to America. He grew up and was educated at Albany, New York, where he first began to paint.
As soon as he started to school he showed great skill at drawing, by, as he says, "drawing every mortal thing that came under my notice."
When he was nineteen years old he sold enough of his sketches to pay his way back to London, England. He spent several months in England, sketching wherever he went. When he came back to New York he painted a picture called "Winter Twilight," which marked the beginning of his success. Later he spent a year in Paris, finally making his permanent home in London.
His studio in New York City was given up, but, although he lived in England, his art remained distinctly American.
He was especially interested in the history and literature of our country and has been called "the interpreter and illuminator of New England life in the seventeenth century."
Besides painting, he wrote for magazines, illustrating his own stories with great success.
=Questions about the artist.= Tell about the artist. Where was he born? Where did he grow up? How old was he when he came to America? In what did he excel at school? When did he go back to England? How did he earn the money? What did he do when he came back? Of what country did he paint the most pictures? What part of our history interested him especially? In what else was he successful besides painting?
DANCE OF THE NYMPHS
=Questions to arouse interest.= Of what is this a picture? What time of the year do you think it is? what time of the day? What are the people doing? Half close your eyes and look at the picture. What do you see first? what next? Where is the sun? How do you know? (Look at the trunks of the trees and the shadows.) What do you see in the foreground to the left? to the right? Do you like this scene? why?
=Original Picture:= Luxembourg Gallery, Paris, France. =Artist:= Jean Baptiste Camille Corot (k[+o]´r[+o]´´). =Birthplace:= Paris, France. =Dates:= Born, 1796; died, 1875.
=The story of the picture.= The artist who painted this picture, Jean Baptiste Corot, tells us that when he was a small boy he used to lean out of his window at night, long after his mother and father thought him safe in bed, to watch the clouds, the sky, and the trees. He continued this study as a young man, and soon made friends with three other young men, all artists (Rousseau, Daubigny, and Dupré) who were also studying nature. All had studios and painted in the city; but they were always longing for a glimpse of the country. One day the four started out together for a day's outing, each taking his painter's outfit. They went to the end of the omnibus line from Paris and then started on foot for a long tramp across the country. It was then they thought of the great Forest of Fontainebleau, where nature was wild and undisturbed in its wondrous beauty.
"We will go to that beautiful forest and spend our vacation there," they said.
And so it came about several weeks later. In this forest, at all times of the day or night, they could be found wandering about, searching out new vistas and discovering new wonders and beauties in nature.
They hid their paints and brushes in the rocks to keep them from the dew, and they themselves slept under the spreading branches of the great oak trees. These city-bred young men, brought up in the rush and hurry of the great city of Paris, cared for no other shelter than the wide expanse of sky and the protecting branches of the trees.
So when we know that later Corot came to live near this Forest of Fontainebleau, it is easy to guess where he painted this picture called the "Dance of the Nymphs." Sometimes this picture is called "Morning," for Corot painted another picture much like this one, and called it, "The Dance of the Nymphs, Evening."
Corot is often spoken of as the "happy one," and many stories are told of him and how surprising it was to hear him singing lustily as he painted. Seated on his camp stool before his easel, wearing his blue calico blouse and painter's hat, he was indeed happy. He is described as adding the finishing touches to one of his landscapes in this way:
"Let us put that there--tra, la, tra, la,--a little boy,--ding dong, ding dong! Oh, a little boy, he wants a cap--la, la, la, la, tra la!"
People always smiled when they saw Corot start out, carrying his easel, paints, and brushes, and singing or whistling like a care-free boy. But it happened more often that they saw him going toward home in the evening, for he had a way of starting out before sunrise when nobody was about and seating himself in some lovely spot in the woods, waiting breathlessly to see what would happen next.
That is what he did the morning he sketched this picture. The grass was heavy with dew, the birds were still asleep, all was quiet and covered with the veil of night. As the mist slowly lifted, the great trees gradually assumed definite shapes, the birds awoke, the sun shone forth, and all was bright and fresh as the early mornings in spring always are. Look at this picture, then close your eyes and open them slowly, and you yourself can see just such an awakening to life.
Is it any wonder then that, as Corot sat, pencil in hand, this lovely spring morning and watched the trees gradually take shape against the slowly lightening sky, and listened to the birds singing their morning greeting, he should fancy he saw the fairy wood nymphs come out from their secret hiding places and dance joyously about in the bright morning sunlight? It seems most natural indeed that they should be there, and dancing, too. The mere fact of being alive on such a morning as this fills us too with delight.
When Corot began to paint his large picture from the small sketch he made in the woods that morning, he must have sung his merriest tunes. The picture seems full of music, from the quivering leaves, the waving grass, and the shifting clouds to the dancing figures. Although there is not a bird in sight, we know that they are there, and it takes very little imagination to hear them singing.
At the right-hand side of the picture one of the wood nymphs has seized the hand of a timid companion, urging her to come and join in the frolic. So much are we in sympathy with those merry ones that we too find ourselves unconsciously urging her to join in the dance.
When he painted trees, Corot did not pay very great attention to details, and so we cannot always tell what kind of trees they were. He cared most to make us feel the beauty of the sunlight on their tender leaves, their growth, and the protection they offer to birds and men.
A young art student once approached Corot and asked him why he left so many things out of his pictures and put others in. Then pointing to a certain tree in Corot's painting he said, "This tree is not in the landscape." Corot smiled, then whispered to him, "Don't you tell, but I put it there to please the birds."
It would be difficult indeed to find a single straight line in our picture, so full is it of rhythmic curves, from the treetops to the graceful figures in the foreground. The skillful blending of colors, of light and shade, gives it that mysterious, misty quality which is one of its chief charms. Corot's favorite colors were pale green, gray browns, and silvery grays. One little touch of bright color in his pictures makes them alive. The costumes of the nymphs were chosen for the very few bright touches in this painting, and the tall, slender tree near the left-hand side of the picture for the pale green feathery foliage of early spring.
Our eye moves pleasantly through all the leafy maze of this enchanted forest. We are at the edge of the woods. Looking out through the trees we see the wide, open fields beyond, with their high canopy of sky, and we feel a new contentment steal over us as our eye again seeks this sheltered nook in the great Forest of Fontainebleau.
=Questions to help the pupil understand the picture.= How had the artist, Corot, studied the clouds, sky, and trees? With whom did he become friends? What were these three young artists doing? Where did they go for an outing? What did they take with them? What forest did they decide would be a good place to spend a vacation? How did they live in this forest? What shelter did they have? What nickname did they give Corot? How did he like to paint? How did he dress? What did he do while painting? Where was this picture painted? What is it sometimes called? What time of day did he usually start out to paint? What are the nymphs doing? What did Corot wish to tell us about the trees? What did a young art student once ask Corot? What was the answer? Of what kind of lines is this picture made up? What colors were used? Where are the bright colors? In what part of the forest is this picture? What can you see through the open space?
=The story of the artist.= From the very first all things seemed to favor Corot. Of a naturally happy disposition, born into a family of means, and all his life free from financial worries, everything seemed to combine to make his life one of care-free ease and pleasure.
His father and mother kept a millinery store; this must have been a good business, for they soon accumulated a comfortable fortune.
At ten years of age Corot was sent away to school at Rouen in the hope of making a business man of him. He lived with a friend of his father who was a serious man but also a great lover of nature. Corot took many a long walk with him over narrow, unfrequented paths. They took these walks usually at the close of the day, and so Corot's love of the twilight hour grew strong.
Upon his return to Paris seven years later, his father placed him in a drygoods store, where he remained for nearly nine years. Whenever there were no customers the boy would hide under the counter and draw. His employer was a good-natured man and he sympathized with Corot in his desire to be a painter. So he told the father it was of no use to try to make a business man of him as his tastes were all for art.
About this time Corot went to his father and asked his permission to study painting. The father was not at all pleased with the idea, but decided to let him try. He told his son he had set aside a certain sum of money to start him in business for himself and he could choose that or a small income which would be allowed him for the study of art. If he chose the latter, however, he must not expect any other help from his father, as he did not approve of this new venture. But Corot embraced his father most affectionately and declared he had made him the happiest person in the world. He then proceeded at once to the nearest store and bought a complete painter's outfit. Choosing a spot by the river near his father's house, he began to paint. He tells us how the girls who worked in the millinery store slipped away and came to see what he was doing. He never parted with this first painting, but kept it as a reminder of his great happiness when he was at last free to do "what he most desired in the world."
He studied under several artists, but received little encouragement until he went to Rome to study.
Most of the paintings of that time were classical, including Greek temples, shepherds, nymphs, or dryads, and such trees as cedars and palms. That is why Millet's simple peasants and Corot's misty landscapes were not appreciated.