Stories Pictures Tell. Book 7

In Short

This instructional volume serves as a structured curriculum for introducing young students to masterworks of Western art. By pairing iconic paintings—such as Leonardo da Vinci’s The Last Supper and Turner’s The Fighting Téméraire—with biographical sketches of their creators, the author provides a pedagogical framework for classroom engagement. It remains a testament to the early twentieth-century belief that aesthetic appreciation is a fundamental component of a child’s education, designed to cultivate both moral character and a lifelong capacity to perceive beauty in the world.

The Story

The narrative arc of the book is defined by the lives of the artists themselves, moving from the technical struggles of their youth to the maturity of their crowning achievements. It opens with the sunset-drenched majesty of Turner’s The Fighting Téméraire, positioning the ship as a symbol of transition and fading glory. From there, the text pivots to the raw, spiritual earnestness of Joan of Arc, as depicted by Bastien-Lepage, highlighting the peasant girl’s journey from humble obscurity to tragic heroism.

The middle chapters shift into the professional and societal spheres of the Dutch and Italian masters. We encounter Rembrandt, who found his voice in the shadows of a mill and rose to capture the collective dignity of the Cloth Merchants’ Guild. This is followed by Leonardo da Vinci’s painstaking creative process, where the author emphasizes that art is not merely a matter of manual skill but the result of intense intellectual and spiritual reflection. The journey continues with the domestic warmth of Rubens’s portraits of his sons and the sharp, cynical wit of the ancient philosopher Diogenes, as interpreted through the brush of Sir Edwin Landseer.

The final section explores the intersection of art and literature, focusing on the idealized, ethereal presence of Beatrice as imagined by Dante and rendered by Rossetti. The narrative concludes by bringing the reader back to the present day, using Breton’s Song of the Lark to celebrate the simple joy and physical vitality of labor. Throughout these accounts, the author consistently argues that an artist’s work is inseparable from their life, character, and environment. Whether it is the quiet prayer of a French peasant girl or the regal indifference of a philosopher in a tub, the book insists that every masterpiece serves as a bridge between the viewer and a significant moment in time, ultimately urging students to carry these lessons into their own lives.

How It Unfolds

The arrival of color The book begins by tracing Turner’s evolution from the soft, indistinct grays of his early work to the fiery, brilliant sunsets of his later period. This progression serves as a metaphor for the development of artistic vision through travel and experience.

The strength of the peasant The narrative shifts to the French countryside to examine the earnest, melancholy gaze of Joan of Arc. The author highlights how the artist uses light and composition to transform a simple peasant girl into an icon of courage.

The scrutiny of the guild The focus moves to the Netherlands, where Rembrandt documents the serious, orderly lives of the cloth merchants. These portraits are presented as studies of character, revealing the history and communal pride held within a city’s guild hall.

The process of creation The text details the long, contemplative gestation of Leonardo da Vinci’s The Last Supper. It emphasizes that the artist’s "idle" moments were actually essential periods of creation for the soul.

The spirit of the animal The author explores the life of Sir Edwin Landseer, who learned to see humanity in the behavior of dogs. The narrative connects the ancient encounter between Alexander the Great and Diogenes to the artist’s own observations of London’s streets.

The transition of the soul The final movement centers on Rossetti’s Beata Beatrix, framing it as a visual representation of Dante’s devotion. The author captures the tragic, romantic intersection of the artist’s own life with the literary figure of Beatrice.

The People

The book is populated by figures who exemplify dedication, whether to a craft, a memory, or an ideal. Turner stands out as a man who refused to compromise his vision, famously choosing to bequeath his favorite painting to a gallery rather than selling it for any price. Joan of Arc is presented as a pillar of unshakable faith, whose internal strength resonates through the artist’s focus on her "far-seeing" eyes.

Rembrandt serves as the quintessential observer, an artist who turned his gaze from his own mirror to the bustling, intricate life of his community. Leonardo da Vinci acts as the archetype of the universal genius, whose inventive mind and patience—even when misunderstood by his patrons—defined the standard for artistic excellence. Dante and Rossetti are linked across centuries by their shared devotion to Beatrice, an idealization that transcends death. Finally, Sir Edwin Landseer appears as a student of nature, finding dignity in the animal kingdom, while the peasant girl in Breton’s work represents the inherent nobility of honest, physical labor. Each individual is portrayed as a purposeful actor, defined not just by their achievements, but by the intensity with which they pursued their respective callings.

In Its Own Voice

"It was not until after he had traveled through Italy, and spent many days in Venice, where all is brilliant color, that he began to make his pictures blaze with color."

This observation explains the shift in Turner’s palette following his extensive travels.

"A picture is not wrought by hands alone, good Padre, but by thought."

This line is attributed to Leonardo da Vinci, defending his slow pace to an impatient prior.

"The picture is not intended at all to represent death, but to render it under the semblance of a trance in which Beatrice... is suddenly rapt from earth to heaven."

Rossetti explains the symbolic purpose behind his depiction of his beloved.

What It's Really About

At its heart, the book argues that art is a vital language for human connection. It posits that a picture is never just a static object but a narrative, waiting to be read through the lens of the viewer’s own experience. The central theme is the cultivation of empathy: by studying the life of the artist and the subject of the painting, the student is invited to recognize the nobility in the mundane and the universal truths hidden in the particular. It asks the reader to consider how one’s environment, education, and character shape the legacy one leaves behind, asserting that beauty is both a gift to be received and an active pursuit for those who seek to understand the "good, the true, and the beautiful."

Why Read It Today

Readers who enjoy a classical, earnest approach to history and art will find much to appreciate here. The writing is deeply reminiscent of its 1918 origins, characterized by a didactic tone and an unwavering focus on the moral and educational value of artistic study. It is a quiet, contemplative read that encourages patience; it asks the reader to pause, look closely at the details, and consider the human stories behind the paint.

However, the modern reader should be prepared for the period-specific attitudes embedded in the text. The author’s view of history and social structures—such as the romanticized portrayal of peasants or the rigid, Eurocentric focus on "masterpieces"—reflects the values of her time. Additionally, because the original illustrations are half-tone photographs from the early twentieth century, they lack the clarity of modern reproductions. Despite these limitations, the book serves as a charming time capsule of pedagogical history. It is ideal for those who value the act of "looking" as a disciplined, intellectual endeavor and who wish to recapture a more intentional, slow-paced relationship with the great works of the past. It will stay with you not as a complex art-historical analysis, but as a gentle reminder that every portrait, landscape, or scene is an invitation to engage with the humanity of the past.