Renbjerg Brickyard, by Eckersberg

self-taught as a landscape painter, unaffected by rules and
methods, with his hitherto unused and therefore fresh per-
ception of nature and his love for his native land, he could
penetrate further into Danish nature than any of his prede-
cessors. He was the first to strike with sure, firm touch the
dominant color chord in the harmony of Danish landscape.

These discoveries of his, the unchanging characteristics
of the Danish people and the physiognomy of Danish land
and Danish sea, were far greater contributions than any-
thing in the big historical paintings and altar-pieces which
he himself regarded as his highest achievements. His art
was all prose, but it was great prose. His form is beautiful
because it is natural; it is natural because it is the most accu-
rate and immediate expression of his spirit. The consistency
between the spirit and the form of his art bespeaks the
undeviating truthfulness which is the essence of his character.

On this same inherent truthfulness, as on an imperishable
foundation, stands the school which Eckersberg established.

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