thisaffinitybetorenaturalandapparentwhen

toev

lkyhenpaintiogetheronafiatsurface.thusliuyuhsi772842

thehills.inthissense,an

indefinablefeelingbehind,hereaderssedoesnotsatisfyhis

forrexalefroipo,theartliesintheseleofainthefround

ingproper.butthisaffinityisresponsibleforanotherpointin

ofurse,itrequiresalittleefforttoigine”springsoops”he

andabovethetreesahundredsprings.

pressionisticteique.itisateiquehgivesa

inanycase,thepaierfinishinghispaintingusuallyesaverseatthetopin

uandiheartofsublition,suggestion

fround,thereadergainsaclearperspectiveotherpossible.ashthe

works:

exactheinal;butexaausesutiveissorareand

thepictureteiquehereisperfect:thehilltopsappearingasseveral”dots”overthe

aseriesofetreesinthe

thepoetseyeisthepainterseye,andpaintingarybeeone.

uandliliatic

thosevaorelateronwhen

onlybefoundountainges,f,afterthepreviousnightsrainfall,

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firstthehillsinthepainting,

andartisticrestraint.thepoetdoesnottrytosayallhehastosay.hisbusinessisbut

foranautuse:severaldotsofhillsoverthewall.

andthefasoverse.

seriesofiressions,vividandunfettable,andleavesrelyaflavour,an

tosetitoffagainsttheobjethedistanlouds,ades,hilltopsandthe

thenthepaintinginthehills.

ilarityofteilarityofthes,

e: