Newark post., 1913-03-05

Slohs. The sculptor rreat,s fo,
mas no colors. The landscaue ar+ist ,,a
pe'''S upon both form and color in cana,
measure Again the models, matcr;,r,
ana methods come from naturc ~, .,,,
'fs are those of foliage and fo,vars fra
n"e' Oh the sky, Of water and of Jiyb4
,."o Shade. The clays and the marhga
'iat the sculptor would use are soils and
rochs IN landscape art. In all h,s ma
thods the Landscape artist ,,,,+ ,,, ~,
processes OF nature and he must work
hand in hand with her.
lhe landscape artist can acb;avo +ho4
which can be obtained in no othou 49,.
L''ie'''oh' lhe aim of the sculptor aui
the painter is to correct the defac+s ,nl
unite the eXcellencies of many mo lo1.
neither of them can be the rival of -,
'"re' theV are able only to exhibit a conv
or image of her work. On the other band
NE landscape artist can rival natura ho
cause ne creates things like her own and
nature works with him to reunite her
scattered perfections and to ohlitar,+o
her defects. The landscape artist then
cah count on that perfection which no
worker in the other fine arts can hone to
obtain.
The great advantage over painting and
sculpture lies IN the fact that the details
anu general effects are alive. This means
for landscape art perpetual variation
from hour to hour, week to week. month
TO month, season to season and year to
year. There are many beautiful results
IN every piece of work instead of but one.
Nothing is more difficult for the paiuter
to initiate than light and atmosphere:
but nature supplies these gratis to the
landscape artist s picture, not only in one
phase for which the artist strives but in
an infinite number that are constantly
changing and are never twice the same.
If planned by true artist these over
changing effects of light and atmosphere
are beautiful.
This close partnership with nature in
no way prevents self expression by the
artist. If he We're denied this chance of
expressing himself he would be but a
imitator for art is not imitation but in
depreciation and this implies the exercise
of choice, inventioness and the revelation
of oneself. TO simply copy nature is not
worth the while, so the landscape artist
must put his personality into every bit
of ground that he touches. In short the
task of the landscape artist is to pro-
duce beautiful pictures for which nature
supplies him with the material and i'm
poses forms upon him in the conforma-
tion of the ground; but the design is the
main thing and for that the artist must
depend upon his own conceiving.
The true artist in landscape work re-
lies much upon imagination. He does
not go about with a store of ready made
features in his mind and strive to fit
them in as best he may; but he must use
his imagination to develop his plan as ar
tistic fitness counsels. He must be per-
meated with the spirit of nature and he
must know what she means by variety
and unity, contrast and beauty of line.
This fine art of gardening is needed
wherever we plant plants to produce
result that shall be pleasing to the eye.
1t is needed wherever we do more than
grow plants for more than mere gain of
money. We need it in parks, city squares,
about railway stations, about public
buildings, and above all about our homes
If in any of these we have a beautiful
picture it will give us the same satisfac-
ton that we get from gazing at a good
painting or in reading a beautiful poem,
We need more of these beautiful land
scape pictures about our homes. The
world will be better place to live in
for having had them.