COLOR
and that the powerful notes of red, yellow, and orange should come in only as a spot here and there to enliven the effect. If we carry the same idea into the domain of purely pictorial art, we shall see how the restful beauty of a gray-green landscape by Corot is enhanced by the tiny red bonnet of his peasant woman.
While it is, alas! only too true that any personal and individual progress in the domain of color is debarred by physical law, it is nevertheless a fact that in the broad and world-wide sense, most of the progress made in art in the past two centuries has been made in the domain of color. For one thing, we have in the meantime moved out of doors. From the quiet, subdued, and restful light of the studio, we have stepped out into the gay and palpitating sunlight; and in so doing we have had to meet and conquer
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