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 point of view and thinks of his figures
as people engaged in certain actions, having certain characters,
experiencing certain states of mind and body; then he will give up the
struggle with the truths of aspect that seem so vital to the painter of
the other type and, by a frank use of conventions, will seek to
increase the importance of his figure at the expense of its
surroundings. He will give it firmer lines and clearer edges, will
strengthen its light and shade, will dwell upon its structure or its
movement and expression. He will so compose his landscape as to
subordinate it to his figure and will make its lines echo and accentuate
that figure's action or repose. When he has accomplished his task he
will have painted not man insignificant before nature but man dominating
nature.
For an example of this way of representing man's relation to the world
about him, let us take Titian's "Saint Jerome" (Pl. 22)--a picture
somewhat similar to Sargent's in subject and in the relative size of the
figure and its surroundings.
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