Mignon, at that time, painted flowers
preferably in the stage of their most fully developed splendor, and
fruits succulently ripe to bursting; he despised closed buds. This is
something more than a mere fancy of this particular master; it is a
token of the eye of the whole generation, which was dull as regards the
beauty of buds, not only in the flower-piece but in all subjects of the
plastic arts.
This changing play of "vision" takes place everywhere that beauty meets
the gaze, but principally in the case of the beautiful in nature,
because this, as such, must first be conceived by the vision. The eye
for the beautiful in art remains more constant in comparison.
In youth one has a totally different eye for natural scenery than in old
age. This is the reason why we often feel greatly disappointed when we
behold a familiar region after a long time. There is no more thankless
task than to try to convince another of the beauty of natural scenery.
One tries, as it were, to implant in him one's own eye--an effort which
rarely succeeds. So it is, furthermore, the business of the landscape
painter to implant his own eye for natural scenery in every one who
looks upon his pictures, in such a manner that the latter shall get out
of the landscape the same beauties which the eye of the artist put into
it. If he succeeds in this, one must at least concede that he has worked
clearly, logically, and conscious of his effects.
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