File:American painters- with eighty-three examples of their work engraved on wood (1879) (14747562586).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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clear, far-reaching perspective, the color and the symmetry, the contrasts and the har-mony, the finish and the truth. Mr. William H. Beard was born in Painesville, Ohio, April 13, 1825.After painting some portraits in his native town and in the neighboring towns,he went, at the age of twenty-five years, to Buffalo, which, with the excep-tion of Cleveland, was the nearest large city to Painesville. After a residenceof six or eight years in Buffalo, he made the European tour, studying onesummer at Diisseldorf, and visiting Paris, Switzerland, and Rome. Aboutthe year 1861 he came to New York, and for the last twelve years has occu-pied his present studio in the Tenth Street Building. Mr. Beard is mostwidely known as a humorous painter of bears and monkeys. His picture,recently sold in the Latham collection in New York, and entitled The Runa-way Match, is.a very adequate representative of his most popular style. Therunaways are a pair of monkeys dressed gaudily, after the fashion of some
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Q z s $ ::; J WILLIAM n. HEARD. ;)7 country-folk, and standing before a monkey-parson, who is making an inspec-tion of them, in the presence of several monkey-witnesses similar)) attired,before forging the matrimonial bonds. In this picture, as in most of his live-lier works, his design is to express character by the use of satire rather thanof caricature; and in all his pictures he attains this end by telling a story.The literary instinct predominates, as indeed it usually does in American andin English figure-painting. When you look at one of Beards representationsyou occupy yourself in reading what he has narrated ; and so good is liis com-mand of the pictorial syntax and vocabulary that his meaning is always clear.Cruikshank himself is not more easily understood. The subject is the firslthing aud the chief thing. Perfection of materials and of methods, subtileharmonies of forms, movements, and hues, combinations and contrasts of linesaud of color, the poetry of pigment and the mec

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