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456

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Feb. 21/98.

My dear Matsuki:

Pressure of other matters including two trips to New York within the last two weeks has made it impossible for me to give attention to the three kakemono earlier. Yesterday for the first time I had an opportunity to study them well, and as you have asked me to tell you frankly and freely my opinion, I do so without hesitation.
The Bunrin is an interesting example of that artist's realistic action and as such I enjoyed it. I think however that it is inferior to some of his more idealistic things.
The Toyohiko is very charming in its interpretation of cloud effects, but it lacks a certain dignity and solidity in the mountain form which a stronger man would have given it. It is however very interesting and I am glad to have it.
"The Village before Sunrise", Bumpo, is charming at first sight, but careful study shows it to be the work of a man who departed very far from the truth. I mean to say by this that the picture lacks evenness and balance which is characteristic of the best work of the Japanese landscape men. I have returned the kakemono to you, as I am sure I should not care enough for it to include it in my collection, and if you will study the light on the white building and the black spot on the roof of the adjoining building and compare it with the tones and lights elsewhere in the painting, you will understand why it is untruthful, unsympathetic, and inartistic. Spots of that sort are never seen in nature, and the man who introduces them in his painting drops to a trick practised by all art students before they have reached that elevation necessary to produce interesting work.
I am going to New York to-morrow morning and shall be at the