THE PAINTER OF THE FALISADES 



213 



Palisades, where he has remained for 

 the past fifteen years. He was so 

 struck with the beauty of these tre- 

 mendous cliffs that overhang New 

 York that he decided to remain in the 

 closest association with them. He dis- 

 covered a tiny building that at one 

 time served as a combination chapel 

 and school house for a primitive little 

 community that has formed a curious 

 eddy in the advance of the metropolis, 

 and through the good offices of the 

 Palisade Commissioner he had it fitted 

 up as a dwelling that has been so at- 

 tractive to the eye of the passer-by 

 that it has already been written about 



revolutionary that for a long time it 

 won few supporters. Now, however, 

 and particularly when compared with 

 the work of the cubists and futurists, 

 it seems far from radical. And the fact 

 that it is excellent is granted by the 

 foremost critics and dealers in the 

 country. Richard Watson Gilder, who 

 up to the time of his death was an 

 ardent friend of the artist, declared 

 that Perrine was "the most original 

 figure in American landscape art to- 

 day." A certain dealer in this city, 

 whose name cannot be mentioned for 

 obvious reasons, declares that he is a 

 genius fifty years ahead of his time. 



A SPECIMEN OF MR. PERRINE'S ARTISTIC WORK. 

 He expresses and inspires emotion, and makes but little attempt at details of scenery. 



and photographed. The upper story 

 of this building gave the artist his 

 studio. The lower furnished him with 

 his living quarters. In the furniture 

 of his house he kept for a time the 

 pulpit and some of the old pews. The 

 dwelling and its surrpundings proved 

 to be suitable and decidedly attractive. 

 A Form of Art That Seamed Revolu- 

 tionary . 

 "It was a form of art that seemed so 



"His own generation may not recog- 

 nize him," said this man to a friend, 

 "but in future generations it is my 

 firm belief that he will be granted a 

 place among the first"- — a remark that 

 was agreed with by a member of the 

 National Academy and a famous artist 

 who said to a friend when looking at 

 some of the Perrine pictures : "Here is 

 the work of the man who is the master 

 of us all." 



