File:At the Hippodrome by Gifford Reynolds Beal.jpg

Identifier: painterspictures00neuh (find matches)
Title: Painters, pictures and the people
Year: 1918 (1910s)
Authors: Neuhaus, Eugen, 1879-1963
Subjects: Painting Art
Publisher: San Francisco : Philopolis press
Contributing Library: University of California Libraries
Digitizing Sponsor: MSN

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ity. Ones admiration grows for the painter ofthese suggestive fragments of nature, largelybecause the plastic handling of the paint seemsmost carefully considered in each and everystroke, with a full feeling of responsibility thateach stroke must tell, not only constructively,but by enlivening the surface of the painting, bycatching light and throwing shadows. Redfieldsart is particularly noteworthy amidst that ofmany modern Americans because of its livequality of paint. Speaking of the living qualityof paint, one is reminded of the dynamic workof a young Russian, Nicholas Fechin, who hasfascinated many by the technical extravaganceand animation of his superbly original work.One feels that here paint has been made to dothings one too seldom sees on a canvas. Thesuppressed emotionalism of Whistlers paintingsseems almost dead alongside of a Redfield orFechin, but it has a quality of its own which isinimitable—and vexatious, as any Whistler nat-urally would be. The Lady by the Shore by
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AT THE HIPPODROME PI.ATI-. Wll From (he Oil Painting by (,IFFORD BEAL, N. A. Owned by Martin Ryerson, Esq., Chicago, III. THE TECHNICAL DEVELOPMENT i33 Leo -Putz, shown on many occasions in thiscountry, discloses another method of putting onpaint which, while it is decidedly mosaic, isnevertheless very absorbing. After some thoughtabout this technical procedure, I cannot helpbut feel that anybody must quickly come to theconclusion that it is just along these lines thatpainting really gains in interest. The vast num-bers of pictures painted in an abstract, meaning-less style will certainly arouse no interest. It ishere that a conception of style formulates itselfeven in the mind of the layman, who must readily see that the handwriting of a painter, so tospeak, is an inalienable asset of which he cannotbe deprived. On the other hand, the catchylegerdemain performances of certain paintersare often as quick in captivating ones eye asthey are in boring ones intellect. They are oftenmerely

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