Excerpt from The Higher Life in Art: A Series of Lectures on the Barbizon School of France Inaugurating the Scammon Course at the Art Institute of Chicago<br><br>These lectures addressed to students but also to a future large audience as being the beginning of the record of the Scammon lectures. The choice of a subject determined somewhat by memories of interest in the art of France some fifty years ago. There and then war raged, as very usual, in the world of art and literature. Certain names such as those of Ingres and Delacroix represented the main conflicting ideas. A ppreciations of that time for Millet, Rousseau, Dupre', Corot, Ge'ro'me, Diaz, Decamps. Men of a still older school had memo ries of the eighteenth century by which they judged. N 0 one artist absolutely recognized as a full authority. Chasse'riau; his unfulfilled promise of conciliating oppo sites. His early death. His influence on Puvis de Chavan nes. His view of the advantage of passing from one school to another's influence. Chasse'riau's admiration for Delacroix; at that moment the turn of the tide against that great painter. Some description of his life, his ideas; the character of his works. His dramatic expression not theatrical. The tendency and practice of painting for some long period had been more and more towards a set some as in the theatre. Nature, of course, the ab solute reverse. Delacroix also loved beauty as an aim: wherein we see Millet difl'er. As also the Realists, who were, like Millet, in harmony with the master through admiration. Notice of the poorer technical work of the middle and end of the nineteenth century. Loss of me chanical methods of the past and the new unsettled.<br><br>About the Publisher<br><br>Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com<br><br>This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.