The sun. [volume] (New York [N.Y.]) 1833-1916, 1901-10-13
BRIEF APPRECIATION ~ SOME
AMERICAN PAINTERS.
l-Geerse lnress. the Father % Asderu
American Landscape Painting.

In tbs record Of American art tkres
namee stand out distinctly ~ those OF
,unovaior- Whistler. La Fargo. and Georse
I,ne-- While Whistler's influence has
hoen felt throughout the whole ari world
and La Fargo Ito quote from the Report II
m. International jury 81 the Exhibition
Of 1851 has created In all its details an art
unknown before lnness was a pathfinder
orlv within the domain ~ American art
srd wa led by instinct into ways already
,rodd.n by the great men 81 other countries.
Ru' this does not make him less an inno-
v,tnr. Nor docs the fact that he was oer-
tainly influenced by -the men Of 1880" when
n. came 20 know their works, The point
T. that, Throughout, has life his evolution
va from within
Ui. father. a retired New York grocer.
would have had him enter business and
even opened a small storc for him In Newark.
y j, whittier the family had moved from
~Nswburgh. But the sons mind was at ON
at Like Durand. Kens-tt and CASTELAR,. lac
vas apprenticsd for a short time To an en-
graver. and subsequently studied painting
fpr a little white with Regis Gignour. q
pupil Of Delaroche. For the rest he was
~,nlf-taught. His contemporary. Frederick
J church. younger than himself by a year.
pas seeking instruction from Thomas Cole.
the founder Of the Hudson River School
whose grand Typographical landscapes
IA. pupil vas TO follow In his studies Of the
Andes. 81 Niagara and Of other impressive
regions The young lnnes-. m~ean~hle.
vss Independently studying the individual
fnrms ~ nature. That he should be in
sensible 10 the influence Of Cole was out Of
m. question and ~ late as ises, when he
=. IN ,~.~a alI aRA Ind rafurnpI fTnm hla
frst visit to Europe deeply Impressed
With the work ~ IN. Barbizon painters.
w. can detrc, in at beast two pictures.
"Delav are Valley" and the large Peace
and Plenty ~ the Metropolitan Museum,
tina, fondness Tor grandeur % distance and
sv,ent 80 characteristic ~ Cole. But We
can also detect the expression of \ fuller
utimacv with the scene than Cole could
give lnne=S's own penetrating study of
natural phenomena. Endorsed for himself,
No. doubt by the corresponding aim ot the
Rarhizon painters TO reach the inwardnes-
az he landscape, had enabled him more
thoroughly TO comprehend the vastne-s'
10 collate the details and render them sub
ordinate In a single powerful impression. The
conception and progre-s 81 each OF thesa
pictures IL from the general 10 the particu-
lar and not contrariwiHe A. In the topo-
graphical LANDSCAPES. and this control has
impressed upon them a distinct personal
feeling the realization In each case Of a
mood Of nature, powerfully felt.
But In alluding TO the Typographical
character OF Coles landscapes. | Am very
far from wishing To belittle the essential
greatness 81 that painter. While his means
of expression were comparatively made
quate while he may even rave mistaken
the true province Of landscape painting
IA. coc..p,,op of patire was unoue-tionahly
=. u..l.,. .~.an,.hL.
Nv ',nan o"., asrrnn .s I,na-si.
sp.'' "ss.S srm ovaJnoL.J
norco's,, snu y, 81. ,ima 90
80 u nv ~ n.,ra vi,h
.n'"'u S ~ ,raa
~ a.,inn.E,, .,rro,nd.d
!" 800 a. 20, .ca,c.ly
-. 10 80 whs, co1Id have haen
es'oo I'd -. 20 n.,uo.
s.n, H. 49, a,,i,,ds ,ox.rd ,hs
enn- .zud ,h.rn ,hsy m.v have ban
.-,.h ,h-n v5vs -, c,,-ti,
Tor W.. must mot forget thai our estimate
- al. o,nc,ior. % L. Isc... rain,,n, con..
90 \. tom Uoll.nd . ca,p,ry ~ ,,n,,.d
hoaxo,. ,bronyh Ers,ce who.e .oii !.
nm c,I,iva,sd snd studded Nth he
charvnins intimacy OF rural life. Finding
- ..,.,c. ,,h,u. ,,,a 20 n.,ura all
,n,unsicsIIy lovely Nhils the so-caI.sd
Classic Iand.cane vas Srandlnnnently
sIr.rar4al. we have assumed that the
former A. the tuIe and only satisfactory
ranr-sep,stiye Of pictoral landscau.
parLan. to0 rashIy. Tor even as naiuting
hss hrer allie ,o commas the solemnitiee
~ religion 40 a uaiu,er may arise who will
ioin 10 technical ability sufficient force OF
Md 20 coupaa, ,he solamniti., q, nature
Nsanu lille We .hould AT least r.menber
tbat cola draw his inspiration from Ameri-
an scop.rv which the modern nainter Ia
.tudying through sprctacles borrow ed from
Trnnc. and Holland
80 40 =
., he American uainter- OF his eariy life
M. ia Inc cnmpreb.psivc control which no
ev.rri..d over his view of nature n control
s.sis,sd nv his closs study OF natures forms.
I'D ,hs relations of their importarca. Ne
va H. f,c, th. father Of the naiuralistic
,poNetnept in American landscau@. for IL
,,r. char hal he fully rsaliz.S tho trend
at III. .t,1dis.- h.forp he had found them
iudors-i by the Pa rliyon painterS And
tins -srarate and ind.prndant oNshoot oi
tia naIural-tir movement. appearing al
most -irtultaneouslv i'm tho New World,
i a very cirious and Interesting problem