andabovethetreesahundredsprings.

ingproper.butthisaffinityisresponsibleforanotherpointin

firstthehillsinthepainting,

pressionisticteique.itisateiquehgivesa

tosetitoffagainsttheobjethedistanlouds,ades,hilltopsandthe

uandiheartofsublition,suggestion

foranautuse:severaldotsofhillsoverthewall.

thosevaorelateronwhen

thehills.inthissense,an

onlybefoundountainges,f,afterthepreviousnightsrainfall,

inanycase,thepaierfinishinghispaintingusuallyesaverseatthetopin

uandliliatic

exactheinal;butexaausesutiveissorareand

indefinablefeelingbehind,hereaderssedoesnotsatisfyhis

aseriesofetreesinthe

ofurse,itrequiresalittleefforttoigine”springsoops”he

seriesofiressions,vividandunfettable,andleavesrelyaflavour,an

thisaffinitybetorenaturalandapparentwhen

e:

andthefasoverse.

lkyhenpaintiogetheronafiatsurface.thusliuyuhsi772842

fround,thereadergainsaclearperspectiveotherpossible.ashthe

thenthepaintinginthehills.

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ilarityofteilarityofthes,

works:

thepictureteiquehereisperfect:thehilltopsappearingasseveral”dots”overthe

forrexalefroipo,theartliesintheseleofainthefround

andartisticrestraint.thepoetdoesnottrytosayallhehastosay.hisbusinessisbut

thepoetseyeisthepainterseye,andpaintingarybeeone.

toev