" Rousseau, however, is French, and
in virtue of his nativity exhibits always what Wordsworth's treatment of
nature exhibits only occasionally, namely, the Gallic gift of style. It
is rarely as felicitous as in Corot, in every detail of whose every
work, one may almost say, its informing, co-ordinating, elevating
influence is distinctly to be perceived; but it is always present as a
factor, as a force dignifying and relieving from all touch, all taint of
the commonness that is so often inseparably associated with art whose
absorption in nature is listlessly unthinking instead of enthusiastic
and alert. In Rousseau, too, in a word, we have the classic strain, as
at least a psychological element, and note as one source of his power
his reserve and restraint, his perfect self-possession.
In Daubigny a similar attitude toward nature is obvious, but with a
sensible difference. Affection for, rather than absorption in her, is
his inspiration. Daubigny stands somewhat apart from the Fontainebleau
group, with whom nevertheless he is popularly and properly associated,
for though he painted Normandy mainly, he was spiritually of the
Barbizon kindred.
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