File:Landscape by Maurice Braun.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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ct of a man who, after all, was uncon-sciously working in the Barbizon tradition, inspite of the very daring courage he possessed.This indirect method of painting a picture firstin a neutral color in different values, or express-ing it in light and dark irrespective of the actualcolor, had many advantages and many draw-backs. But the best things produced in thismethod are as fine as any other methods, pastor present. One should, however, discriminatebetween the spontaneously painted picture whenunder and over-painting were done in one sit-ting—where everything was staked upon onecard—and the other type, when the frotte waspainted at one time, allowed to dry, and fin-ished some other time. Our own William Keithwas a past master of the first method, and someof his best canvases were painted in a now-or-never spirit which we seldom meet with in art.It was this technical swiftness and facility inwhich Keith excelled and in which he at timeseven surpasses the most spontaneous of Inness
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PI.ATK XXI From tlie Oil Fainting byMai rice Braun THE TECHNICAL DEVELOPMENT 129 work. At its best, this method of apparent easeis convincing by reason of its freedom from hesi-tation and fumbling. But the method of warm under-painting hasnow generally fallen into disrepute, perhaps asbeing too dangerously connected with the past;the younger men of the modern type, to judgefrom their work, must be suspected of lookingupon the older methods with a mixture of sym-pathy and pity. Perhaps it is not so much themethod of painting as it is the lack of color—inthe modern sense—which causes this attitude.However, I do not believe the world will evertire of Duveneck, Chase, Currier, Sargent,Brush, and some more recent arrivals likeTroccoli and Pushman. After the thin and wet under-painting we havethe Impressionist and after this the Neo-Im-pressionist—whom I abruptly abandoned in mydiscussion—who wants to go him one better.The light palette, gay with color, is not enoughfor him. He want

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