File:American painters- with eighty-three examples of their work engraved on wood (1879) (14584099927).jpg

Identifier: americanpainters00shel (find matches)
Title: American painters: with eighty-three examples of their work engraved on wood
Year: 1879 (1870s)
Authors: Sheldon, George William, 1843-1914
Subjects: Painters Painting, American
Publisher: New York : D. Appleton and company
Contributing Library: University of California Libraries
Digitizing Sponsor: Internet Archive

View Book Page: Book Viewer
About This Book: Catalog Entry
View All Images: All Images From Book
Click here to view book online to see this illustration in context in a browseable online version of this book.

Text Appearing Before Image:
inful and certainly inexcusable, except on the ground of juvenileincapacity. It may, indeed, be questioned whether or not the modern Euro-pean school to which the Society of American Artists chiefly belongs—wesay school and not schools, because, in whatever city the masters who lead itreside, the motives that compel these masters are substantially the same—isnot becoming increasingly inefficient by reason of its vehement scorn for de-tails which only instructed and industrious painters are competent to repre-sent. Consider, for instance, the marvelous incorrectness, as well as sloven-liness, of many of the great Corots drawings of the human figure. Thisfamous and brilliant artist once affixed his revered name to the worst-drawnfemale arm that, perhaps, has ever been publicly exhibited in a first-class gal-lery in the city of New York. It might as well, then, be said at once that the trained and honest pencilof Mr. Richards has secured for him the very hearty respect of many compe-
Text Appearing After Image:
ON THE WISSAHICKON.From a Painting by William T, Richards. p.M. SEYMOUR JOSEPH GUY. gg tent connoisseurs ; and that the greater number of the canvases on which thispencil has left its tracings are sure to improve with age in precisely the samerespects and to precisely the same degree that Falernian wine did. The oc-casional rigidity—frigidity, if we please—that characterizes his pictures, theoccasional apparent forgetfulness on his part that a work of art is not anassemblage of details, but a fused and glowing ensemble, cannot, of course, butbe deplored. His latest works show less of these faults than his earlier ones;his landscape in two shades of green, for example, which was hung in thefifty-third annual exhibition of the National Academy of Design, was, in theparticulars just mentioned, a marked advance upon his landscape entitled Leafy June. Some of his more recent water-colors, too, are obvious im-provements upon his first attempts on Whatman paper. The evidence issufficient

Note About Images