Abstract
IT is a commonplace of criticism that a painting is not only the result of the artist's competence and temperament, but also of his country and period. Thus a Titian could arise nowhere else than in Italy; neither could a Vermeer be found elsewhere than in the Low Countries. The former reflects the warm colouring of the south, and the patronage of opulent, semi-pagan princes and prelates, whereas the latter echoes the cooler skies of the north, and the solid worth of prosperous burgherdom. Some years ago, Frank Rutter, following an earlier suggestion by Sir Michael Sadler, pointed out that, from the commencement of the present century, art in the hands of its more advanced exponents became more and more violent until, in the last years before 1914, men like Kandinsky and Wyndham Lewis were painting pictures of which the themes were connected in some way or another with war.
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HOPWOOD, A. Science and Art at the Royal Academy, 1945. Nature 155, 687–688 (1945). https://doi.org/10.1038/155687a0
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DOI: https://doi.org/10.1038/155687a0