deepest convictions, can
escape the occasional desire to be modern; and most of us have
attempted, at one time or another, the actual study of the human figure
in the open air. We have taken our model into a walled garden or a deep
wood or the rocky ravine of a brook and have set ourselves seriously to
find out what a naked man or woman really looks like in the setting of
outdoor nature. And we have found just what Sargent has painted. The
human figure, as a figure, has ceased to exist. Line and structure and
all that we have most cared for have disappeared. Even the color of
flesh has ceased to count, and the most radiant blond skin of the
fairest woman has become an insignificant pinkish spot no more important
than a stone and not half so important as a flower. Humanity is absorbed
into the landscape.

Obviously, there are two courses open to the painter. If he is a modern
by feeling and by training, full of curiosity and of the scientific
temper, caring more for the investigation of the aspects of nature and
the rendering of natural light and atmosphere than for the telling of a
story or the construction of a decoration, he will, if he is able
enough, treat his matter much as Sargent has treated it. The figure will
become, for him, only an incident in the landscape. It will be important
only as a thing of another texture and another color, valuable for the
different way in which it receives the light and reflects the sky, just
as rocks and foliage and water and bare earth are valuable. For to the
true Impressionist light and atmosphere are the only realities, and
objects exist only to provide surfaces for the play of light and
atmosphere. He will abandon all attempt at rendering the material and
physical significance of the human form and will still less concern
himself with its spiritual significance. He will gain a great vividness
of illusion, and he may console himself for what he loses with the
reflection that he has expressed the true relation of man to the
universe--that he has expressed either man's insignificance or man's
oneness with nature, according as his temper is pessimistic or
optimistic.

If, on the other hand, the painter is one to whom the figure as a figure
means much; one to whom line and bulk and modelling are the principal
means of expression, and who cares for the structure and stress of bone
and muscle; if the glow and softness of flesh appeal strongly to him;
above all, if he has the human