LANDSCAPE PAINTING
many new and fascinating problems, problems whose fundamental color-scheme is the reverse of the one which had for a thousand years engrossed the attention of the older artists. In the quiet north light of the studio, illumined only by the sky, the lights were cool and the shadows warm; in the open air, on the contrary, the lights are warm and the shadows cool, for out here in the open the gay yellow sunlight is the source of illumination, while the shadows catch only the cool reflections of the sky. At the present time it is hard to conceive how difficult it was for the first landscape painters to make this simple change in their point of view, how tenacious the old tradition of the studio proved to be, and how very slowly it was abandoned to make room for the simple truths of out-of-door nature. Even after the new law had been fully recognized
[26]
