Evening star., 1937-09-18
Br Leila Mechfin.
r THIS time of year. when the
world Of nature is at its best


tive. it is peculiarly fitting t.
give consideration 10 the art of tn
landscape painter, through which il
many instances the charm OF this sea
son has been perpetuated.
II was less than a century and
half ago that landscape painting a.
an entity came into existence. Up Il
1900 landscape had been looked upor
largely as background for figures Of
as subject for decorative design. Rem.
brandt had etched some superb land
scape plates, such as the Three
Trees: Claude Lorrsin and Ruysda ell
IN the seventeenth century. and Rich
ard Wilson, In the eighteenth century
had all painted some magnificent
landscape canvsses, but they were
studio pieces, composed with classica
dignity. end did little to bring within
doors the spirit of nature vital ano
changing
Then came Constable. like Rem
brandt the son of miller. rustic
born in Suffolk in 1875, died in Lon
don 1897, destined to add to the great
&.
outlook. a completely new school OF
landscape painting. How did he make
bis discovery--whence came his in
spiration? None can say. He loved
the world OF nature and he gave it
fresh and original expression
Consta bic exhibited his first picture
In London in 1902 and gradually won
nj III.
leagues. but his work was more appre-
ciated in France than in England. and
II was there that his strongest inf1u-
ence WAS eyerted Out of the broad
vital work of Constable came the
Barbizon of landscape painting. For
the first time in the history of art
painters transferred to canvas their
vision Of the outdoor world, worship
ping nature, striving to register their
own emotions. and their works found
fsvor with the public.
The art of a people has it's roots in
the far distant past. the art of the
countries of southern Europe derived
through Byzantium. that of the north
countries was influenced by life and
Il
may explain in a measure wbv the
school OF landscape painting emerged
In England, and why here in our own
country across the sea earlv attempts
were made in the same direction. To
American settlers nature was both
friend and foe. the outdoor world of
utmost Importance. Landscape paint
heights
HE Corcoran Gallery of Art has
lately recovered the walls in its
semi-circular gallery on the second
moor, and is now showing thereon the
major portion OF its collection OF early
American landscape paintings. They
make distinguished display.
The first in point OF time is can
vas by Thomas Doughty, entitled
Welsh Scenery" painted in the staid
manner OF the men before Constable
but a very creditsble performance. es-
pecmlly when it is considered that he
was without precedent in his art and
was inspired probably by poor repro
auctions which may have found their
way 10 this country from Engla nd
Doughty was born in 1888, but did not
begin TO paint until late in life. when
he gave up a lucrative business as
leather manufacturer 10 become an
arnst Some OF his small canvas ses
In particular possess every real charm
Next in order are works by Asher B
Dura Edge of the Forest"-and
oy his colleague. Thomas Cole-"The
Departure" The Return"-sII yery
typical
Durand was one of the most en-
eagin2 personalities in the whole his
tory OF American art-an American
product, ambitious. industrious, in
genlous and talented. He first learned
engraving from Peter Maverick. 10
Wnom he was apprenticed, and dared
before MS apprenticeship ended to un-
nertake 10 engrave Trumbulrs paint
ing. The Declaration of Inoepend-
ence. work which occupied him
three years but was done with satis-
faction. From engraving he alter
turned TO portrait painting and pro-
ouced some most excellent hkenesses.
In 1885 he came TO Washington 10
10 portraits OF Gen. Jackson and
Henry Clay and was commissioned by
me Government 10 paint portraits of
All the past Presidents OF the United
States, from life or from portraits by
Stuart in private possession. Then. in
l84O. he began landsca pc painting. in
which he continued until his death al
the age OF 80 years. His landsca pes
ore nearer the new school than were
those OF his colleagues, truer 10 nature
broader in treatment
Cole had more checkered career
ano was less simple nature Up 10
his twenty fifth year he had a severe
struggle with poverty, then Trumbull
bought one of his pictures and brought
him 10 the attention of other pa irons
in New York. after which his works
founo ready sale. He had, however
essentially literary turn of mind
snd his paintings for the most psrt
nell stories. For example, in The De-
psrture" Is pictured knight gsyly rid
ING away from his castle. TO iolst O,
war. and in The Return he is shown
brought back on a litter by his mourn.
Ing vassals. There Is, however. thirc
canvas by Cole in this group which. il
less characteristic. shows him 10 have
been more OF painter and student ot
nature This is The Tornado" snc
pictures broad landscape in the
grip of frightful natural force
Strangely enough. there is in this work
indication OF not only nmult but mo.
tion--tbe bent trees sway before Tho
great wind-a quality almost unknown
in landscape painting Of that era
THESE three men were the fore
runners OF the American schoo
~ landscape painting Their immr
diste followers were OF two types-cha
Of the so-called Hudson River OF
White Mountain School. ably repre-
sented here by Kensetl and Hart. an,
thst of the avowed nationalists suci
,' Berstaot and Church. who dedi