still stands by Manet and in his spirit paints portraits which
show rapid characterization. It must, of course, be left to
the future finally and correctly to judge painters like these,
who are still young and, in some cases, still undeveloped.

Such is the Danish painting of the moment, distributed
every spring among two or three different exhibitions, yet
not difficult to combine into a single impression. Despite
the recent movements in foreign directions, it has persistently
shown its national temper. It has recognized restrictions
which are mainly the result of the limitations of the passion-
less Danish temperament. It has perhaps shown its Danish
nature most definitely on the negative side of the sober,
critical Danish character, with its sensitive instinct for shun-
ning the ridiculous under all circumstances. There has
always been very little of the ridiculous in Danish painting.
Unfortunately, there was usually a lack of the sublime as
well. Was it dread of the ridiculous that was to blame for
the rarity in Denmark of approaches to the sublime? Not
entirely. Only genius attains the sublime, and Danish paint-
ing has always been as lacking in genius as it has been rich
in first rate talent. This more moderate degree of artistic
endowment combined with the moderate Danish character
to impose limits on Danish painting. In the narrowness of
these limits lies the weakness of Danish painting; but at
least it has always known its own limits. Hence its inherent
truthfulness, and hence, again, its strength.

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