The Iola register., 1900-04-27
miss S3oW's
Prt Talks

pictures had no effect, apparently,
upon the artists who followed him,
On the contrary they gave their
allegiance to the decadent methods
of the Italian school OF the period and
devoted themselves to the impossible
ideal. The school of Dusseldorf had
later on more worthy influence, but
for good many years there was no
evidence of any higher ambition than
to paint the false and florid estimates
of life that comes through weak imita-
tion of hackneyed powers.
Washington Allston is the most
famous painter of this period. a
southerner by birth, he was educated
in New England, aud later on studied
under West. He had wide compass
essaying Scriptural, landscape,
marine and ideal themes togethr
with genre and portrait subjects.
His work created a great enthusiasm
and he was called the american
Titan" But while his color suggest
ed that mighty master whose
methods he had carefully studied,
the "poetic imagination" with which
he was credited has not stood the
test of later criticism. 1t is now con-
ceded that he was deficient in poetic
balance. and that his execution dis
plays the tendency of the time.
1t was during this period, however,
that the first Academies of Art Were
established in New York and Phila-
delphia, and while the methods of
teaching were in no wise character
istic of the American soil or spirit,
the movement has been conducive to
our artistic development, and in pro-
cess of time such schools rs these
may come to have u really national
significance. S +. b. Morse, whose
telegraph fame has over-shadowed his
artistic ability, was president of the
New York Academy, and u painter
who attempted several national sub
jects, and other artists showed here
anu lutIG lllA1O VI
the material close at hand. Among
these William Sidney Mount who was
originally Long Island sign painter
developed into genre artist who has
not been surpassed. His color schemes
are extremely simple, but his inter-
probation of common, homely char
acter is exceedingly realistic and
attractive. George Catlin also made
a notable speciality ofIndian character
and William Romney found inspiring
subjects in frontier and trappers.
There were also many portrait
painters who worked with n notice
able individuality, and these little
streams of saving grace united early
in the eighteenth century in the most
original expression of the artistic
temper which has been shown in the
history of our development. In Eng
land men were returning to nature,
and the influence of Constable was
not only felt in France, but spread it's
waves in our direction. Our own
literature, with William Cullen
Bryant as natures chiefapostle, aided
the general impetus, and coterie Of
painters arose who were named, part
ly in derision, the "Hudson River
School,"
Hitherto peculiar feature OF
American painting had been the dis
regard of American landscape. The
foreign studios had impregnated
our artists with the love of foreign
scenery, and as they spent their force
upon the natural beauties of France
and Italy, Germany and old England
our own land put forth its attractions
in vain. But the new school gave ita
best efforts to the worthy delineation
OF the lovely hooks and inspiring
reaches along the Hudson, among the
White Mountains and about Lake
George, and opened the gates to the
pictorial gioIies OF the Rockies and
the Yosemite. Technical skill and
lime worn methods were of secondary
Importance to the fresh, inspiring
subject and that loving insight of the
artist which made him endeavor Il
paint what he saw in all truth aud
honor and fidelity.
Thomas Doughty and Alvan Fisher
were the first to enter upon the new
pathway but the most distinguished
force in this prolific school wal
Thomas Cole who was born in Eng
land, but who came to this country al
youth of eighteen and received hi
first teaching here. He went to Italy
according to the prevailing custom
and responded most fully to the power
of Salvador Rosa, and in France, t
that of Poussin and Claude. Hi
early productions were large allegoric