PAINTING IS NOT JUST A MATTER OF RECEPTIVITY AND SENSIBILITY
criticism to say these studies are livelier than most of the finished paintings on the walls, for this was a regular modernist complaint about such masters as Jean-Baptiste-Camille Corot and John Constable. But the objection in these cases was to the alleged artificiality and conventionality introduced in the transition from study to exhibition picture, the casualness of the former being more congenial to modernist taste. Here, though, it is rather a different matter: the problem lies not so much in the gratuitous imposition of compositional structure as the lack of such a structure.
But even before we come to this specific question, there is a certain want of rigour in Piguenit’s vision. For all his love of the grand and sublime spectacle of wild nature, he lacks