ery , ▁mountains , ▁mo or land , ▁and ▁quiet ▁st ret ches ▁of ▁past oral ▁me adow - land ; ▁all ▁have ▁been ▁recorded ▁by ▁him ▁at ▁some ▁time ▁or ▁other . ▁As ▁he ▁wishes ▁to ▁associate ▁only ▁with ▁her ▁[ N ature ], ▁he ▁has ▁to ▁be ▁ever ▁out ▁and ▁about . ▁And ▁for ▁the ▁greater ▁part ▁of ▁the ▁year ▁he ▁lived ▁in ▁the ▁open , ▁painting ▁industri ously ▁through ▁spring , ▁summer , ▁and ▁aut umn , ▁returning ▁only ▁when ▁the ▁winter ▁wind s ▁make ▁the ▁nom ad ▁existence ▁impossible ▁even ▁to ▁the ▁greatest ▁art ▁enthus iast … . ▁F ew ▁modern ▁landscape ▁pain ters ▁can ▁aff irm ▁the ▁same ▁absolute ▁self - s ac rifice , ▁or ▁can ▁ple ad ▁that ▁they ▁have ▁to ▁such ▁an ▁extent ▁sub ordin ated ▁the ▁not ▁un natural ▁incl ination ▁to ▁assert ▁individual ity ▁at ▁the ▁exp ense ▁of ▁f idel ity ▁to ▁nature . ▁That ▁he ▁should ▁have ▁done ▁so ▁all ▁his ▁life ▁speak s ▁well ▁for ▁his ▁consist ency , ▁and ▁implies ▁a ▁rare ▁quality ▁of ▁belief ▁in ▁the ▁sound est ▁princip als ▁of ▁art .” ▁ ▁“ Wh ile ▁we ▁have ▁pain ters ▁like ▁John ▁Bu xt on ▁Knight ▁to ▁keep ▁alive ▁the ▁best ▁trad itions ▁of ▁the ▁English ▁landscape ▁school , ▁there ▁is ▁certainly ▁no ▁fear ▁that ▁we ▁shall ▁lose ▁our ▁pre - em inent ▁position ▁among ▁the ▁nations ▁which ▁have ▁produced ▁the ▁greater ▁master s ▁in ▁this ▁form ▁of ▁p ict orial ▁practice … . ▁It ▁is ▁because