File:Walter Shirlaw - Good-Morning (2).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:
the strictest or largestsort. The likenesses of our ancestors hanging, alas ! too often not in our par-lors, but in less favored apartments, tell an interesting story of the ease withwhich those venerated persons were satisfied by the rude forefathers of thepencil. Whittredge painted portraits and earned his living with thanks fromthe men and women who sat for him. The primeval forests of Ohio had long been a source of inspiration to theyoung artist. Landscapes, without a single human element, were his delight.He reproduced them on his canvases, and then laid them aside and paintedthem over again. He loved them as Rousseau loved them—Rousseau, whoseaims and methods are at the farthest divergence from his own. The friendswho had helped him when he dealt in portraits stood nobly by him in hisnew departure. They gave him plenty of commissions, and enabled him togo to Europe. After making the usual tour of London and Paris, he went toDusseldorf, and became a pupil of Andreas Achenbach.
Text Appearing After Image:
• GOOD-MORNING.From a Pai)iti)ig by )Valter Shirlaw, p. 9a WORTEINOTON WHITTREDGE. 99 The inquirer, however, who seeks in Mr. Whitfredes works (lie traces ofAndreas Achenbachs influence, will scarcely find them there. Nor is it anuncommon thing to see iu a painters pictures the presence of other forces thanthose which direct the brush of his professed master. Mi. J. AppletonBrown, of Boston, studied with Lambinet, but communed with Corot. liespeaks lightly of Lambinet. Mr. William M. Huut, of the same city, studiedwith Couture, but it was from Millet that he took his inspiration. The expla-nation of the phenomenon is clearly in the fact that a pupil is not always ableto secure the teacher that he prefers. Mr. J. Alden Weir, one of the mostpromising of our younger artists, learned the rudiments of his profession inthe atelier of Gerome; but only a person who is color-blind could detect inany of the fine performances of Mr. Weir the hand or the head of the authorof LAlmee. Nor is it l

Note About Images