LANDSCAPE PAINTING
the palette, one is very apt to use that special green, instead of searching out the various greens (and they are infinite) that may enter into his picture motive. It may also be stated as an axiom, that the more experienced the artist, the more limited is his palette. The expert cannot be bothered with useless pigments. He selects the few that are really essential and throws aside the rest as useless lumber. The distinguished Swedish artist, Zorn, uses but two colors—vermilion and yellow ochre; his two other pigments, black and white, being the negation of color. With this palette, simple to the point of poverty, he nevertheless finds it possible to paint an immense variety of landscape and figure subjects, and I have never heard his color criticised as being anæmic or lacking in power. Many other painters
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