PAINTING. 



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somewhat slighted nature. Worthington WHTTTREDGE 

 was among those who studied at Dusseldorf, when that 

 school was first introduced as an influence into our art. 

 He is a close student of nature, and although for tech- 

 nique he doubtless owes much to foreign training, yet 

 his work is thoroughly individual, and shows hut few 

 traces of foreign influence. John W. CASILEAR, like 

 Durand and Kensett, was at first an engraver, and later 

 abandoned the burin for the brush. His elaborate 

 landscapes, though not distinguished for originality, 

 are refined and delicate. James A. SUYDAM'S tender 

 landscapes were characterized by somewhat similar 

 qualities. Jasper F. CBOPSET, though somewhat 

 crude at times, has had more or less success in re- 

 producing the vivid coloring of our autumnal scenery, 

 and R. W. Hubbard's simple, harmonious composi- 

 tions have been praised by more than one critic as 

 veritable poems. T. Addison Richards, C. P. Cranch, 

 A. H. Wenzler, Martin J. Heade, David Johnson, J. 

 R. Meeker, John B. Bristol, Win. Russell Smith, 

 Charles H. Miller. Aaron D. Shattuck, Wm. L. Sonn- 

 tag, H. W. Robbins. John R. Tilton, A. H. Wyant, 

 James B. Sword, Kruseman Van Elten (a Dutchman 

 by birth). J. R. Brevoort, Geo. Q. Thorndike, R. H. 

 Fuller, A. Wordsworth Thompson are among the other 

 artists who have gained repute in the department of 

 landscape. To these should be added those whose 

 reputation dates from more recent times, and most of 

 whom are quite in sympathy with the art-tendencies 

 of to-day ; men like Samuel Coleman, F. H. Shap- 

 leigh, F. D. Williams, R. M. Shurtleff, J. Foxcroft 

 Cole (a pupil of Lambinet, and good in color), W. A. 

 Gay, J. A. Brown. James D. Smillie, Geo. H. Smillie, 

 Arthur Parton, J. C. Nicoll, F. Hopkinson Smith, 

 Henry Farrar, John J. Ennekins, Frank Waller, D. 

 W. Tryon, H. Bolton Jones, Wm. S. Macy, Bruce 

 Crane, A. F. Bunner, J.H.Twachtman, Joseph Lvnian, 

 Carleton Wiggins, Julian Rix, J. Francis Murphy, E. 

 Gay, Harry Fenn, G. H. McCord. and C. A. Platt, 

 _ In Frederic E. CHURCH we have a good representa- 

 tive of the school whose work is mainly objective in 

 character. He unites carefulness in detail to breadth 

 of treatment in general. Tropical scenes form the 

 subjects of many of his paintings, but the general 

 public knows him best, perhaps, as the painter of the 

 grand and impressive picture of Niagara. He is a 

 careful, scientific student of nature, whose pictures, it 

 has been said, are good illustrations of the physical 

 geography of the countries in which he has travelled. 

 Louis R. MIONOT (1831-70) also showed a preference 

 for tropical subjects, which he painted with a fine feel- 

 ing for color, and Sanford R. GIFFORD (1823-80) had 

 a true eye for striking and phenomenal atmospheric 

 and light effects. 



Three landscape-artists, Bierstadt, Hill, and Moran, 

 are specially prominent as having first delineated for 

 us the grand scenery of the West Albert BIER- 

 STADT, Born in Dusseldorf, oame to America in in- 

 fancy and subsequently went back to his native city to 

 study art. After his return to the United States he 

 accompanied Gen. F. W. Lander's exploring expedi- 

 tion in 1858. and made the studies for his paintings 

 of Rocky Mountain scenery. His Rocky Mountains, 

 which created a furore in its day, is, however, not a 

 picture of any actual scene, but a typical composition. 

 Bold in treatment, and frequently ambitious in design, 

 his paintings seem at times to show an undue degree 

 of striving after effect. An artist of undoubtedly great 

 originality and power, he is, like Leutze, a true rep- 

 resentative of the Diisseldorf school, the merits as 

 well as defects of which characterize most of his 

 works. His earlier paintings, especially, aroused un- 

 bounded enthusiasm, and ne has received various 

 honors at home and abroad. Thomas Hill has pro- 

 duced some bold and effective paintings of California 

 scenery. One of his pictures deals with the Yellow- 

 stone, a subject that has also employed the pencils of 

 Bierstadt and Thomas MOEAN. The latter artist's 



fine painting of the Grand Canon of the Yellowstone 

 is in the Capitol at Washington. Moran is an exceed- 

 ingly clever painter, possessed of a vivid imagination, 

 and well versed in the technique of his calling. Though 

 undoubtedlv influenced by his attention to the methods 

 of Turner, his works show him also to be an assiduous 

 and careful student of nature. 



The brothers William and James M. HART, both 

 born in Scotland, have also gained an honorable place 

 among our landscape-painters. The younger, James, 

 has introduced cattle into many of his later pictures, 

 with considerable success. Albert F. BELLOWS (1829- 

 1883), who studied in Antwerp and Paris, first became 

 known as a genre painter, but later turned his atten- 

 tion to landscape. He was one of the early members 

 of the Water-Color Society, and painted much in 

 water-colors. This medium had not been seriously 

 used by our artists before 1865. In that year a collec- 

 tion of English water-colors was exhibited in New 

 York, which attracted much attention, and seems to 

 have done considerable towards stimulating our a'tists 

 to turn their attention more to the culture of water- 

 color painting. Their success in this direction was 

 rapid, as is attested by the works of Bellows, W. T. 

 Richards, Henry Farrar, H. W. Ranger, and others. 



A leaning towards a more subjective style of land- 

 scape-painting, as distinct from the purely objective 

 method that dominated so much of our landscape art, 

 is found in the works of Jervis McENTEE, who has 

 striven to represent on canvas the sentiments suggested 

 by certain phases of our autumnal scenery, Homer D. 

 Martin, and others. In some of the earlier works of 

 George INNESS there is a tendency to make a careful 

 reproduction of details the first consideration. But his 

 emotional nature caused him soon to adopt a broader 

 style, and a less objective method. His principle be- 

 came, as he said himself, to reproduce for others such 

 impressions as a scene called forth in his own mind. 

 Though his pictures are unequal in merit, the best of 

 them are impressive, excellent in light and color, and 

 in atmospheric effects. R. Swam GlFFORD, like 

 Inness, has been influenced more or less by the art of 

 France, and is also one of those artists who always 

 leave an impression of his feelings and emotions upon 

 his work. His earlier efforts were in the direction of 

 coast scenes, but he later devoted himself to landscape, 

 and his travels and observations abroad have served 

 but to broaden his style. 



In marine painting but little wasproduced until lately, 

 and that little by foreigners. Thomas BIRCH (died 

 1851) followed this branch of art in Philadelphia, 

 painting especially naval engagements, while another 

 early marine-painter, Salmon, practised his art in 

 Boston. A. VAN BEEST (d. 1860), a Dutch artist, 

 won a certain reputation in this line, and John E. C. 

 PETERSEN (1839-74), a Dane, who came to this country 

 in 1865, settling in Boston, was an artist of consider- 

 able talent. But perhaps the best of our earlier 

 marine painters was James HAMILTON (1819-78), a 

 native of Ireland, who established himself in Phila- 

 delphia. His best-known pictures include Capture 

 of the Serapis ; Old Ironsides ; and such weird and 

 nhantastic productions as the Ship of the Ancient 

 Mariner. They show a strong contrast of subjects, 

 much imaginative power, and a bold and effective 

 style. Bradford and Dix were among the earliest of 

 our artists to cultivate this branch of art. Charles 

 Temple Dix (1838-73), a son of Gen. John A. Dix, 

 produced some promising work, but unfortunately 

 lied young. William BRADFORD, of Quaker origin 

 has painted effective pictures of the coast scenery of 

 the Eastern States, but is known especially through 

 his studies in Labrador, and his paintings of its scenery 

 and icebergs. Edward MORAN, a brother of Thomas, 

 already mentioned, studied under James Hamilton. 

 He is a marine-painter of repute, and has successfully 

 introduced the human figure into some of his paint- 

 ings. William T. Richards was at first a decided Pre- 



