Marine, by Anton Melbye

national" manner brought him temporary international re-
nown. To a far higher degree than Eckersberg he had an
eye for the dramatic aspects of sea and sky, but he frequently
prompted sea and sky in their dramatic parts by introducing
effects that were more artistic than nature's own. One of
the great men of the past has said that art is inherent in
nature--"Who grasps the one has grasped the other."
Eckersberg held a similar belief as to the secret of art, and
he held quite as firmly to his faith when he searched the sea
horizon with his telescope; Melbye, on the other hand, be-
lieved that the secret was in the paint-box. Much the same
may be said of his brother, Vilhelm Melbye, and, for that
matter, also of Sörensen. The latter's pictures were usually
brighter and more smiling than Anton Melbye's, and pleased
the public because the light shone and gleamed out of them
with the most fascinating effect, which he regularly produced
by the lavish use of little white high lights. Another young
marine painter, Neumann, was freer from routine. He was
a better draughtsman, and made more notable use of his
palette, but he was dryer and less at home on the sea than
the others.

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