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George Ticknor, Life, letters and journals of George Ticknor (ed. George Hillard) 6 0 Browse Search
Laura E. Richards, Maud Howe, Florence Howe Hall, Julia Ward Howe, 1819-1910, in two volumes, with portraits and other illustrations: volume 1 4 0 Browse Search
Frank Preston Stearns, Cambridge Sketches 2 0 Browse Search
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Frank Preston Stearns, Cambridge Sketches, C. P. Cranch. (search)
the Velasquez method of painting was in full vogue at Boston. Cranch did not believe in imitations, or in adopting the latest style from Paris, and he set himself against the popular hue-and-cry somewhat to his personal disadvantage. Charles Perkins and the other art scholars who founded the Art Museum in Copley Square were all on Cranch's side, but that did not seem to help him with the public. They cannot bend the bow of Ulysses, said Cranch in some disgust. He preferred Murillo to Velasquez, and once had quite an argument with William Hunt on the subject in Doll & Richards's picture-store. Hunt asserted that there was no essential difference between a sketch and a finished picture,--he might have said there was no difference between a boy and a man,--that all the artist needed was to express himself, and that it was immaterial in what way he did so. Cranch thought afterwards, though unfortunately it did not occur to him at the moment, that the test of such a theory would be