File:American painters- with eighty-three examples of their work engraved on wood (1879) (14584163157).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

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brings tearsto my eyes. I have tried to connect the sight with something I have seenbefore; but the effort was useless. The emotion was simply spontaneous—beyond my control. Turners Slave-Ship, observed the professor, is a wonderful piece ofpainting, but it tells no story whatever, and was not intended to do so. It issimply an effect of color, and of light and dark; and as such it is the verycream and poetry of painting. Thackeray said of Turners Temeraire, Ifthat picture could be translated into music, it would be a national anthem;and a similar remark might be made concerning the Slave-Ship. Turner, inmy opinion, painted rapidly from the inspiration of the moment, laying on hiscolors furiously, with perhaps only a knife or trowel. When he had doneenough to suggest a thought, he would stop, and then tack on a name to thecanvas—any name that his fancy dictated, or a quotation from some poem likethe Fallacies of Hope, fur example, a poem which never existed. In his $fffe&->
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DEVONSHIRE COTTAGES.From a Painting by Albert F. Bellows. p. 160. ROBERT W. WEIR. \Q\ Slave-Ship the black figure in the foreground lias a leg ten feet long, thefish have eyes as big as dinner-plates, and iron is made to float on the water.He fastened a manacle around that leg, and called the picture the Slave-Ship.He didnt know what he intended to do when he began to paint it. The professor proceeded to illustrate how, in his opinion, the work hadbeen done. From a corner of his studio he brought out a marine of his own—gray-toned, cloudy, stormy, the sun setting behind a bank of dark cloud,and tipping some of the troubled waves with light, the whole scene expressiveof immensity and of desolation. I painted that, said he, in an hour onemorning, after looking at the Slave-Ship, just to illustrate for myself myown idea of Turners process; I mixed my colors hurriedly on the palette andtransferred them to the canvas with a small trowel. I did not once use abrush. Now, if I wanted to giv

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