Excerpt from The Studio, Vol. 49: An Illustrated Magazine of Fine and Applied Art; February 15, 1910<br><br>Indeed, in all Mr. Goodwin's paintings the sub ject, as it is popularly understood, is Of compara tive unimportance; it is the way in which he deals with it that counts. His real motive may be an effect Of quiet sunlight or Of misty half-veiled illumination, it may be a grey dawn or a stormy sunset, or again it may be the working out of a decorative pattern Of lines and masses which has been suggested to him by something he has seen it is always something beyond the mere arranging Of plain facts that he is striving after - some touch of poetry, romance, or drama, some quality of decoration or some manifestation Of his aesthetic perception of nature's meaning. The subject is only a framework which he fills up and Overlays; it is the premise upon which he builds the argu ment that leads him to his artistic conclusion.<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.