December, 1919 
33 
The problem that most interests Ameri¬ 
cans who love landscape painting, is how to 
use the pictures of our native artists as deco¬ 
rations in their homes. In this we are little 
concerned with the association, or historical, 
element. In fact, what interest we have in 
it is by proxy, for certain fine examples of 
our early landscape painters so closely re¬ 
semble in technique and in their romantic 
aspects the work of the old Dutch and 
English painters that they can well go in 
rooms modelled after English periods. 
These early Americans are known in art 
parlance as “the Hudson River School,” and 
their chief inspiration was the minutely 
painted Dutch landscapes and the slightly 
broader works of such Englishmen as Stark, 
Old Crome and Constable. A lake amid the 
mountains, the graceful sweep of a river, the 
crisp clarity of a valley, were favorite themes. 
The better work of John F. Kensett, Ashur 
B. Durand, David Johnson, Samuel Colman 
and their contemporaries is highly prized 
0 Continued on page 74) 
“Pasture Land — October ,” by J. Francis Mnrphy. A soothing canvas 
of this type requires a dignified room. Howard Young Galleries 
‘Filtering Light," a pleasant, colorful interpretation by H. W. Ranger, the type 
suitable for a living room or library. Macbeth Gallery 
“The House m the 
Valley,” a richly col¬ 
ored modern express¬ 
ion by Charles Reiffel. 
The colors atul actions 
in such a canvas give 
stimulus to a furniture 
group 
“A Glimpse of Lake Placid,” 
by Homer D. Martin. Such a 
picture requires a dignified, 
simple setting in a room, pre¬ 
ferably a library. Babcock 
Galleries 
