Beautiful Pictures to Enjoy
Mrs. Estelle Mrs. Hurll
Note: The aim of this department is to promote the appreciation of art by practical helps in the study of pictures. Readers are cordially invited to co-operate in the work by making suggestions, asking questions and sending in, answers to the Questions for Discussion. Address all correspondence to Picture Department, School Arts Magazine, 120 Boylston St. Boston.
LANDSCAPE AS A SETTING FOR ANIMAL LIFE
Watering Place at Treport, by Emil van Marcke.
FROM the history of painting we learn that landscape pictures came very late in the process of art development. Figure painting had reached perfection long before natural scenery was represented for its own sake. Previous to the 17th century it was merely
as a background for figures that painters made any attempts to reproduce trees and grass, mountains, rocks and rivers. Gradually a sense of the beauty of nature awoke and in the course of time pure landscape art came into its own.
Now history repeats itself in the life of each one of us. Of course the first objects Which a child identifies are the human beings about him, his toys and the various household articles—not far- away things as trees and clouds. And his first pictures, therefore are representations of these familiar objects, and it is some time before landscapes appeal to him. At just what age I should not dare to say, for I pet a variety of answers whenever I ask parents and teachers this question. Much depends upon the taste of the older people who influence him and the customs of the family. Among the people who love camping and out of door life, who teach their children the joys of woodcraft and gardening, boys and girls readily “take” to nature pictures. Among certain city folk of limited interests whose chief amusements are theatres and movies, children show but languid interest in landscape art. The fact is that young people (as well as the rest of us) like in pictures pretty much the same things they like in their daily life.
In the school picture work children may be led to the true appreciation of landscape by precisely the same steps which marked the historical evolution of the art. Suppose we take in order these three classes of pictures: First, figure-landscape, in which the figures predominate. Second, landscape with figures, in which figures are subordinate. Third, pure landscape without figures. This sequence is both logical and psychological, and I think it is
worth while for the teacher to follow it
