gri_2003_m_46_b03_f10_030
- Max. dissimilarity: 0.058
- Mean dissimilarity: 0.037
- Image votes: 0.0
Transcribers
- 65773665 - Darkelf_23
- 65856093 - Preacher357
- 65954819 - EllaCate
- 65967308 - not-logged-in-939538ab60c3411bfee1
- WINNER - 66099563 - eacshadows
- 66115742 - not-logged-in-aa8151f7455552f1469f
65773665 - Darkelf_23
ON PAINTING OUT OF DOORSA distant figure sitting in a grove or working on a grassy ridge always excites curiosity and conjecture. Is he some dull amateur artist who does not merit out attention or is he and unknown genius whose glorious transmutations of nature will greet our eyes with a shock of pleasure? Better still, per-haps he is an acknowledged genius - some famous R.A. or avant-garde painter whose presence will provide a fund of anecdotes with which to amuse our friends.
So the spectators bear down on their helpless quarry - chained to his easel. If he be in a leafy valley he may not be aware of their arrival, but if he be on a hillside or an open pain he will, no doubt, be aware of their coming, eagerly run-ning, ambling amiably, or nonchalantly strolling in a patron-izing manner towards him. 'We may as well look', these latter seem to say, 'though it's probably an awful dawb'. Whereas the runners, before they had begun their race, probably called to one another, 'Cor, let's have a look!'
Some artists seem to like such attention - even invite it. I have seen a cheerful dapper person, his easel set down in the middle of the Piazzetta di San Marco, controlling quite a good sized crowd with his masterly gestures, and well deliberated re-treats the better to view his effects. Although he managed with remarkable skill to retain the necessary space around to allow for movement and, even more important, to see his 'motif', he re-mained full of good-natured 'bon-homie'.
65856093 - Preacher357
ON PAINTING OUT OF DOORSA distant figure sitting in a grove or working on a grassy
ridge always excites curiosity and conjecture. Is he some
dull amateur artist who does not merit out attention or is he
an unknown genius whose glorious transmutations of nature will
greet our eyes with a shock of pleasure? Better still, per-
haps he is an acknowledged genius, some famous R.A. or avant-
garde painter whose presence will provide a fund of anecdotes
with which to amuse our friends.
So the spectators bear down on their helpless quarry-
chained to his easel. If he be in a leafy valley he may not
be aware of their arrival, but if he be on a hillside or an open
plain he will, no doubt, be aware of their coming, eagerly run-
ning, ambling amiably, or nonchalently strolling in a patron-
izing manner towards him. 'We may as well look', those latter
seem to say, 'though it's probably an awful dawb'. Whereas
the runners, before they had begun their race, probably called
to one another, 'Cor, let's have a look'.
Some artists seem to like such attention, even invite it.
I have seen a cheerful dapper person, his easel set down in the
middle of the Piazzetta di San Marco, controling quite a good
sized crown with his masterly gestures, and well deliberated re-
treats the better to view his effects. Although he managed with
remarkable skill to retain the necessary space around to allow
for movement and, even more important, to see his 'motif', he re-
mained full of good-natured 'bon-homie'.
65954819 - EllaCate
ON PAINTING OUT OF DOORSA distant figure sitting in a grove or working on a grassy
ridge always excites curiosity and conjecture. Is he some
dull amateur artist who does not merit attention or is he
an unknown genius whose glorious transmutations of nature will
greet our eyes with a shock of pleasure? Better still, per-
haps he is an acknowledged genius - some famous R.A. or avant-
garde painter whose presence will prodive a fund of anecdotes
with which to amuse our friends.
So the spectators bear down on their helpless quarry -
chained to his easel. If he be in a leafy valley he may not
be aware of their arrival, but if he be on a hillside or an open
plain he will, no doubt, be aware of their coming, eagerly run-
ning, ambling amiably, or nonchalantly strolling in a patron-
izing manner towards him. 'We may as well look', these latter seem to say, 'though it's probably an awful dawb'. Whereas
the runners, before they had begun their race, probably called
to one another, 'Cor, let's have a look'!
Some artists seem to like such attention - even invite it.
I have seen a cheerful dapper person, his easel set down in the
middle of the Piazzetta di San Marco, controlling quite a good
sized crowd with his masterly gestures, and well deliberated re-
treats the better to view his effects. Although he managed with
remarkable skill to retain the necessary space around to allow
for movement and, even more important, to see his 'motif', he re-
mained full of good-natured 'bon-homie'.
65967308 - not-logged-in-939538ab60c3411bfee1
ON PAINTING OUT OF DOORSA distant figure sitting in a grove or working on a grassy ridge always excites curiosity and conjecture. Is he some dull amateur artist who does not merit our attention or is he an unknown genius whose glorious transmutations of nature will greet our eyes with a shock of please? Better still, perhaps/he is an acknowledged genius - some famous R.A. or avant-garde painter whose presence will provide a fund of anecdotes with which to amuse our friends.
So the spectators bear down on their helpless quarry - chained to his easel. If he be in a leafy valley he may not be aware of their arrival, but if he be on a hillside or an open plain he will, no doubt, be aware of the coming, eagerly running, arbling amiably, or nonchalantly strolling in a patronizing manner towards him. 'We may as well look', those latter seem to say, 'though it's probably an awful dawb'. Whereas the runners, before they had begun their race, probably called to one another, 'Cor, let's have a look!'
Some artists seem to like such attention - even invite it. I have seen a cheerful dapper person, his easel set down in the middle of the Piazzetta di San Marco, controlling quite a good sized crowd with his masterly gestures, and well deliberated retreats the better to view his effects. Although he managed with remarkable skill to retain the necessary space around to allow for movement and, even more important, to see his 'motif', he remained full of good-natured 'bon-homie'.
WINNER - 66099563 - eacshadows
ON PAINTING OUT OF DOORSA distant figure sitting in a grove or working on a grassy ridge always excites curiosity and conjecture. Is he some dull amateur artist who does not merit out attention or is he an unknown genius whose glorious transmutations of nature will greet our eyes with a shock of pleasure? Better still, perhaps he is an acknowledged genius - some famous R.A. or avant-garde painter whose presence will provide a fund of anecdotes with which to amuse our friends.
So the spectators bear down on their helpless quarry - chained to his easel. If he be in a leafy valley he may not be aware of their arrival, but if he be on a hillside or an open plain he will, no doubt, be aware of their coming, eagerly running, ambling amiably, or nonchalantly strolling in a patronizing manner towards him. 'We may as well look,' these latter seem to say, 'though it's probably an awful dawb'. Whereas the runners, before they had begun their race, probably called
to one another, "Cor, let's have a look!'
Some artists seem to like such attention - even invite it. I have seen a cheerful dapper person, his easel set down in the middle of the Piazzetta di San Marco, controlling quite a good sized crowd with his masterly gestures, and well deliberated retreats the better to view his effects. Although he managed with remarkable skill to retain the necessary space around to allow
for movement and, even more important, to see his 'motif', he remained full of good-natured 'bon-homie'.
66115742 - not-logged-in-aa8151f7455552f1469f
On Painting out of DoorsA distant figure sitting in a grove or working on a grassy
ridge always excites curiosity and conjecture. Is he some
dull amateur artist who does not merit our attention or is he
an unknown genius whose glorious transmutations of nature will
greet our eyes with a shock of pleasure? Better still, per-
haps it is an acknowledged genius - some famous R.A. or avant-
garde painter whose presence will provide a fund of anecdotes
with which to amuse our friends.
So the spectators bear down on their helpless quarry -
chained to his easel. If he be in a leafy valley may not
be aware of their arrival, but if he be on a hillside or an open
plain he will, no doubt, be aware of their coming, eagerly run-
ging, ambling amiably, or nonchalantly strolling in a patron-
izing manner towards him. 'We may as well look,' these latter
seem to say, 'though it's probably an awful dawb.' Whereas the runners, before they had begun their race, probably called
to one another, 'Cor, let's have a look.'
Some artists seem to like such attentions - even invite it.
I have seen a cheerful dapper person, his easel set down in the
middle of the Piazzetta di San Marco, controlling quite ea good
sized crowd with his masterly gestures, and well deliberated re-
treats the better to view his effects. Although he managed with
remarkable skill to retain the necessary space around to allow
for movement and, even more important, to see his 'motif,' he remained full of good-natured "bon-homie.'