Art Out-of-Doors 



merely one, and perpetual variation in each 

 of the many. His aim is, in general, the 

 same as that of the landscape-painter, who 

 knows that the most potent factors in Nat- 

 ure's beauty are light and atmosphere. No 

 things in the world, not even the color and 

 texture of the human skin, are so difficult to 

 simulate, so impossible to imitate in paint as 

 these. But to the landscape-gardener's pict- 

 ures Nature freely supplies them, and not 

 only in the one phase for which a painter 

 strives, but in a thousand, changing them 

 with each day of the year and each hour of 

 the day. And with the passing days and 

 seasons she changes also his terrestrial ef- 

 fects, so that no part of his work is twice the 

 same although, if rightly wrought, it is al- 

 ways beautiful. 



But does not this partnership with Nature 

 deprive the artist of the chance for self-ex- 

 pression ? Art, after all, is not imitation 

 but interpretation ; and interpretation im- 

 plies the exercise of choice and inventive- 

 ness, the revelation of personal thought. No 

 artist can copy Nature, and if he could his 



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