The photographic enthusiast likes to lure us into a darkened room in order to display his slides on a silver screen. Aided by the adaptability of the eye and by the borrowed light from the intense projector bulb, he can achieve those relationships in brightness that will make us dutifully admire the wonderful autumn tints he photographed on his latest trip. As soon as we look at a print of these photographs by day, the light seems to go out of them. It is one of the miracles of art that the same does not happen there.
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We are all inclined to accept conventional forms or colours as the only correct ones. Children sometimes think that stars must be star-shaped, though naturally they are not. The people who insist that in a picture the sky must be blue, and the grass green, are not very different from these children. They get indignant if they see other colours in a picture, but if we try to forget all we have heard about green grass and blue skies, and look at the world as if we had just arrived from another planet on a voyage of discovery and were seeing it for the first time, we may find that things are apt to have the most surprising colours.
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The paintings in our galleries are seen one day in bright sunshine and another day in the dim light of a rainy afternoon, yet they remain the same paintings, ever faithful, ever convincing. To a marvelous extent they carry their own light within. For their truth is not that of a perfect replica, it is the truth of art.
What an artist worries about when he plans his pictures, is something... difficult to put into words. Perhaps he would say he worries about whether he has got it 'right.' Now it is only when we understand what he means by this modest little word 'right' that we begin to understand what artists are really after.