Herbert James Draper Lament for Icarus painting

Herbert James Draper Lament for Icarus paintingGeorge Inness The Trout Brook paintingGeorge Inness The Delaware Water Gap painting
cages behind which the real of life, eating and mating, is carried on out of sight of the audience. “Are the lions really alive?” “Yes, lovey.” “Will they eat us up?” “No, lovey, the man won’t let them”—that is all the reviewers mean as a rule when they talk of “life.” The alternative, classical expedient is to take the whole man and reduce him to a manageable abstraction. Set up your picture plain, fix your point of vision, make your figure twenty foot high or the size of a thumbnail, he will -size on your canvas; hang your picture in the darkest corner, your heaven will still be its one source of light. Beyond these limits lie only the real trouser buttons and the crepe hair with which the futurists used to adorn their paintings. It is, anyway, in the classical way that I have striven to write; how else can I now write of Lucy?
I met her first after I had been some weeks in London; after my return, in fact, from my week at the seaside. I had seen Roger several times; he always said, “You must come and meet Lucy,” but nothing came of these vague proposals until finally, full of curiosity, I went with Basil uninvited.