42

the representation: the narrative significance the moral, the meaning.

p 30

The three enemies of Realist painting were the sentimental, the picturesque, and the anecdotal.

p 31.

Hogarth's Progress - Peter Quennell - Viking. 1956

Some veins of talent lie close to the surface, and are easily, quickly uncovered. Such for example was the talent of Kent, whose inward wealth- mixed, one must agree, with a certain proportion of basic material- was brought to light almost as soon as he had the chance of using it.

p 40-41

The formative years of an artist's existence are generally divisible into three main stages. There is a first stage when his hopes are vague and high, as were ...

But the next phase is often marked by a decisive setback. No longer at liberty

43

to hope and plan, postponing the realisation of his plans till some remote period of the blessed future, he comes face to face both with the practical difficulties of life and- a discovery even more galling- with the limitations of his own talent.

p 49

The third development ... that miraculous stage in an artist's progress when his scattered imaginings suddenly fall into a coherent and distinctive pattern, and a balance is at last achieved between his abilities and his opportunities. Such a solution arises from within: it is born of an interior struggle, of which the artist himself perhaps has never fully take cognisance. But it is usually precipitated by some exterior event, acting, so to speak, as a kind of mental catalyst, which the creator may afterwards forget, and of which his subsequent critics