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diff --git a/40604-h/40604-h.htm b/40604-h/40604-h.htm index a26fd13..c3fdd19 100644 --- a/40604-h/40604-h.htm +++ b/40604-h/40604-h.htm @@ -3,7 +3,7 @@ <html xmlns="http://www.w3.org/1999/xhtml" lang="en" xml:lang="en"> <head> <link rel="coverpage" href="images/cover.jpg" /> -<meta http-equiv="Content-Type" content="text/html;charset=iso-8859-1" /> +<meta http-equiv="Content-Type" content="text/html;charset=UTF-8" /> <title> The Project Gutenberg eBook of Art in America, by S. G. W. Benjamin. </title> @@ -59,45 +59,7 @@ table {margin-top:5%;margin-bottom:5%;margin-left:auto;margin-right:auto;border: </style> </head> <body> - - -<pre> - -The Project Gutenberg EBook of Art in America, by -Samuel Greene Wheeler (S.G.W.) Benjamin - -This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org/license - - -Title: Art in America - A Critical and Historial Sketch - -Author: Samuel Greene Wheeler (S.G.W.) Benjamin - -Release Date: August 28, 2012 [EBook #40604] - -Language: English - -Character set encoding: ISO-8859-1 - -*** START OF THIS PROJECT GUTENBERG EBOOK ART IN AMERICA *** - - - - -Produced by Chuck Greif and the Online Distributed -Proofreading Team at http://www.pgdp.net (This file was -produced from images available at the Internet Archive.) - - - - - - -</pre> +<div>*** START OF THE PROJECT GUTENBERG EBOOK 40604 ***</div> <hr class="full" /> @@ -169,7 +131,7 @@ progress from one step to another.</p> apparently neglected mention of the American artists resident in foreign capitals—like Bridgman, Duveneck, Wight, Neal, Bacon, Benson, Ernest Parton, Millet, Whistler, Dana, Blashfield, Miss Gardner, Miss Conant, -and many others who have done credit to American æsthetic culture. But +and many others who have done credit to American æsthetic culture. But it was necessary to draw the line somewhere; and to discuss what our artists are painting abroad would have at once enlarged the scope of the work beyond the limits of the plan adopted. An exception has been made @@ -419,7 +381,7 @@ Peter's Courtship</span></td><td><i>Howard Pyle</i></td><td align="right" valign <tr><td colspan="2"><span class="smcap">Museum of Fine Arts, Boston</span></td><td align="right" valign="bottom"><a href="#page_178">178</a></td></tr> -<tr><td><span class="smcap">The Astonished Abbé</span></td><td><i>E. A. Abbey</i></td><td align="right" valign="bottom"><a href="#page_181">181</a></td></tr> +<tr><td><span class="smcap">The Astonished Abbé</span></td><td><i>E. A. Abbey</i></td><td align="right" valign="bottom"><a href="#page_181">181</a></td></tr> <tr><td><span class="smcap">A Child's Portrait</span></td><td><i>B. C. Porter</i></td><td align="right" valign="bottom"><a href="#page_184">184</a></td></tr> @@ -598,7 +560,7 @@ antedating<a name="page_017" id="page_017"></a> both Copley and West, although n had acquired fame, because for many years he contented himself with the painting of signs and house decorations.</p> -<p>But the latent æsthetic capacity of the colonies displayed itself +<p>But the latent æsthetic capacity of the colonies displayed itself suddenly when John Singleton Copley, at the early age of seventeen, after only the most rudimentary instruction, adopted art as a profession. But, although a professional and successful artist at so @@ -647,7 +609,7 @@ remarkable career.</p> <p>How, from such primitive efforts, the Quaker youth gradually worked into local fame, went to Italy and acquired position there, and then settled -in England, became the favorite <i>protégé</i> of the king for forty years, +in England, became the favorite <i>protégé</i> of the king for forty years, and the President of the National Academy of Great Britain—these are all matters of history, and, as West never forgot his love for his native land, entitle him to the respectful remembrance not only of @@ -919,7 +881,7 @@ follows. One may have great talents, and yet really not enrich the world with a single new idea. He simply assents to the accepted, and lends it the aid of his powers. But genius, not content with things as they are, either gives us new truths or old truths in a new form. The greatest -minds—Cæsar, Shakspeare, Goethe, Franklin—present us with a just +minds—Cæsar, Shakspeare, Goethe, Franklin—present us with a just combination of genius and talent: they both create and organize. Now, one may have<a name="page_026" id="page_026"></a> great or little genius, but so far as he tells us something worth knowing in his own way, it is genius as distinguished @@ -1107,7 +1069,7 @@ have been very clever at it. He succeeded in giving character to his faces to a degree unusual in miniature; while the coloring was rendered at once with remarkable delicacy, purity, and fidelity. His best works are probably the likeness of Ray Green, and the exquisitely beautiful -group called the "Hours," which is carefully preserved in the Athenæum +group called the "Hours," which is carefully preserved in the Athenæum at Providence.</p> <p>With the general public the name of no American artist of that time is @@ -1422,7 +1384,7 @@ effect.</p> <p>When we turn to the influences from abroad which stimulated American art during this period, we find that, while they fostered the growth of a -certain æsthetic feeling, they at the same time instilled conventional +certain æsthetic feeling, they at the same time instilled conventional methods and principles that deferred the development of a higher kind of art. It is greatly to be regretted that, notwithstanding the friendly relations between the United States and France, our art, when it was @@ -1690,7 +1652,7 @@ an earnest pursuit of art, attended sometimes with very respectable results; but, with the exception of here and there a portrait-painter of real genius, we do not discover in their paintings much that is of value in the history of art, except as indicating the existence of genuine -æsthetic feeling in the country demanding expression in however +æsthetic feeling in the country demanding expression in however hesitating and abortive a manner. But when we come to the subject of landscape-painting, we enter upon a field in which originality of style is apparent, and a certain consistency and harmony of effort. Minds of @@ -2092,7 +2054,7 @@ allude to our school of landscape.</p> American art of this period has, on the whole, been concerned chiefly with the objective; and it could not have well been otherwise, for any other form of art at such a time would have utterly failed to carry the -people<a name="page_072" id="page_072"></a> with it, and thus missed of producing that gradual æsthetic +people<a name="page_072" id="page_072"></a> with it, and thus missed of producing that gradual æsthetic education which is the province of a national art.</p> <p>Not only for this reason has our school of landscape art vindicated its @@ -2138,11 +2100,11 @@ introduction of steam, that we must partly attribute the rapid success of many of the artists who appeared in our country at that time in such unexpected numbers.</p> -<p>It was in 1841 that Leutze went to Düsseldorf to study, and thus +<p>It was in 1841 that Leutze went to Düsseldorf to study, and thus introduced a new influence into our art, which hitherto, so far as it had acknowledged foreign influences, had been swayed by the schools of Italy and Britain. The effect was evident when, a few years later, -Worthington Whittredge, a native of Ohio, went to Düsseldorf, and +Worthington Whittredge, a native of Ohio, went to Düsseldorf, and studied under the guidance of Achenbach. Very naturally his style showed for a time the effect of foreign methods; but he was guided by a native independence of action that enabled him in the end to assimilate rather @@ -2356,7 +2318,7 @@ reaching out and beyond, and yearning, Venice-like, to draw to itself the spoils, the riches, the splendors, of the whole round globe. To our art the paintings of Mr. Church are what the geographic cantos of "Childe Harold" have been to the poesy of England, or the burning -descriptions of St. Pierre and Châteaubriand to the literature of +descriptions of St. Pierre and Châteaubriand to the literature of France. If such a topic is permissible in letters, may it not also be allowed sometimes in painting? Whether the one is as lofty as epic poetry, or the other as great as historical painting or subjective @@ -2416,7 +2378,7 @@ has treated the splendors of classic lands with the dignified reserve of matured strength and a higher sense of the ideal. The melancholy grandeur of the Parthenon in ruins has been painted with a stately reticence in consonance with the character of the subject; and the -magnificent composition called the "Ægean" may well hold its own by the +magnificent composition called the "Ægean" may well hold its own by the side of some of the superb Italian canvases of Turner.</p> <p>A landscape-painter who chose a range of subjects similar to those of @@ -2515,7 +2477,7 @@ a Bender," are masterly bits of characterization. There is also a deal of comic satire in "The Bulls and Bears of Mammon's Fierce Zoology," which, with a multitude of struggling fighting figures, takes off the eccentricities of the Stock-exchange. Beard can justly be called the -American Æsop. It is asserted by many that this is not art. The fact is +American Æsop. It is asserted by many that this is not art. The fact is that it is exceedingly difficult to draw the line, and to prescribe what subjects an artist shall choose. In art the result justifies the means. And this certainly seems as legitimate a subject for the brush of the @@ -2539,7 +2501,7 @@ some of this quality. He has painted landscape and <i>genre</i>, meeting with respectable success in the latter, but portraiture has chiefly occupied his attention. His portrait of General Meade is a striking and satisfactory work. Then there was Richard Caton Woodville, who followed -Whittredge to Düsseldorf, and promised much in <i>genre</i>. His paintings +Whittredge to Düsseldorf, and promised much in <i>genre</i>. His paintings show very decided<a name="page_087" id="page_087"></a> traces of German influence, but behind it all was a strong individuality that seemed destined to assert itself, and to place him among our foremost painters. But he died young, and (shall we not @@ -2597,7 +2559,7 @@ born abroad, Leutze may be justly claimed as an American painter, for he was taken to Philadelphia in childhood, and remained in this country until thoroughly imbued with a patriotic love for the land and its history and the spirit of its institutions;<a name="page_089" id="page_089"></a> and although he -subsequently passed a number of years at Düsseldorf, whither he went at +subsequently passed a number of years at Düsseldorf, whither he went at twenty-seven, the last ten years of his life were here; here he died, and the subjects of his art were almost entirely inspired by American scenes, and have become incorporated with the growth of our @@ -2627,7 +2589,7 @@ resources.</p> <p>We would not be understood as saying that all the works of Leutze are worthy of unqualified acceptance; we refer rather to their general character.<a name="page_090" id="page_090"></a> His art was very prolific, and as a pupil of Lessing and -Schadow it bore the unmistakable stamp of Düsseldorf. Much of his work, +Schadow it bore the unmistakable stamp of Düsseldorf. Much of his work, partaking also of the grandiose style of Kaulbach, was of a semi-decorative character, like the "Landing of the Norsemen," which represents two fresh, sturdy Scandinavian rovers stepping out of an @@ -2641,13 +2603,13 @@ Leutze will be remembered longest by his large and magnificent painting of "Washington at Princeton," his "Emigration to the West" (a decorative composition in one of the panels of the stairway of the Capitol at Washington), and his "Washington Crossing the Delaware." The latter was -executed at Düsseldorf, and the ice was painted from an unusual mass of +executed at Düsseldorf, and the ice was painted from an unusual mass of shattered ice floating down the Rhine on the breaking up of the winter. It is another illustration of the apparent caprice with which man is treated by destiny, that scarcely had Leutze closed his eyes in his last sleep, at the early age of fifty-one, when a letter arrived from Germany bringing official tidings that he had just been elected to succeed -Lessing as president of the Düsseldorf Academy of Art.</p> +Lessing as president of the Düsseldorf Academy of Art.</p> <p class="figcenter"> <a href="images/illpg_091.png"> @@ -2797,11 +2759,11 @@ entitled the "Rocky Mountains," threw the people into an ecstasy of delight, which at this time it is difficult to understand, and bounded at one step to celebrity.</p> -<p>Albert Bierstadt is a native of Düsseldorf, but came to this country in -infancy. Subsequently he studied at Düsseldorf and Rome. On returning to +<p>Albert Bierstadt is a native of Düsseldorf, but came to this country in +infancy. Subsequently he studied at Düsseldorf and Rome. On returning to America, he accompanied the exploring expedition of General Lander<a name="page_098" id="page_098"></a> that went over the plains in 1858. Fitz Hugh Ludlow, the well-known -<i>littérateur</i>, was associated with him in a subsequent trip, and several +<i>littérateur</i>, was associated with him in a subsequent trip, and several graphic articles in which he afterward described the journey undoubtedly helped to bring Mr. Bierstadt into notice.</p> @@ -2821,10 +2783,10 @@ his large ones for artistic quality: one of the best compositions we have seen from his easel is a war sketch representing Federal sharp-shooters on the crest of a hill behind some trees. This is an excellent piece of work, fresh, original, and quite free from the -Düsseldorf taint; and confirms us in the opinion that Mr. Bierstadt is +Düsseldorf taint; and confirms us in the opinion that Mr. Bierstadt is naturally an artist of great ability and large resources, and might easily have maintained a reputation as such if he had not grafted on the -sensationalism of Düsseldorf a greater ambition for notoriety and money +sensationalism of Düsseldorf a greater ambition for notoriety and money than for success in pure art.</p> <p class="figcenter"> @@ -3011,7 +2973,7 @@ artists who represent it continue to assert their individuality with such nerve and keen perception of the essential truths of nature, art is in a healthy and progressive condition. If further evidence of this were needed, we might cite the landscapes of J. Appleton Brown, who, after a -rather discouraging servitude to Corôt, is at last beginning to show us +rather discouraging servitude to Corôt, is at last beginning to show us the reserve power of which he is capable when he is more concerned with nature than with imitating the style and thoughts of another. Ernest Longfellow, a son of the poet, is another exemplar of the sturdy and @@ -3193,7 +3155,7 @@ ceremonial in the wigwams of the North-west. Marcus Waterman, of Providence, has displayed much dash in <i>genre</i> combined with landscape, and is fresh and vigorous in style; while such a carefully executed work as his "Gulliver at Lilliput" is highly creditable to our art. J. W. -Champney studied abroad under Frère, and also at Antwerp, and is one of +Champney studied abroad under Frère, and also at Antwerp, and is one of the most broad-minded of our younger artists; indeed, it is refreshing to meet an artist so unbiassed by prejudice. His foreign studies have in no wise narrowed his intellectual sympathies. His small <i>genre</i> @@ -3232,7 +3194,7 @@ obtained without going abroad to seek for subjects. To him the <i>gamins</i> of our cities are as artistically attractive as those of Paris, and a girl wandering by our sea-shore as winsome as if on the beach at Nice or Scheveningen, and an old fisherman at Grand Menan as pictorial as if he -were under the cliffs at Etretât. Fault is sometimes found with the fact +were under the cliffs at Etretât. Fault is sometimes found with the fact that the street lads painted by Mr. Brown have always washed their faces before posing, which is according to the commands of St. Paul, but not of art canons, if we accept Mr. Ruskin's dictum regarding the artistic @@ -3271,7 +3233,7 @@ for the Bathers."<a name="page_116" id="page_116"></a></p> <p>But it is in the works of Messrs. Eastman Johnson and Winslow Homer that we find the most successful rendering of American <i>genre</i> of the present day as distinguished from that which bears unmistakable evidence of -foreign inspiration. Mr. Johnson, as a student at Düsseldorf and other +foreign inspiration. Mr. Johnson, as a student at Düsseldorf and other art centres of Europe, might be expected to show the fact in his art; but, instead of doing so, we have no painter who has a more individual style. There is uncertainty in his drawing sometimes, but his color and @@ -3346,7 +3308,7 @@ Mount. By this we mean the identification of the artist with his subject, which renders it dramatic, and inspires it with that touch of nature that makes the whole world kin. In this respect he occasionally suggests the inimitable humanity which is the crowning excellence of the -paintings of Jean François Millet.</p> +paintings of Jean François Millet.</p> <p>It is with additional pleasure that we note the works of some of our<a name="page_119" id="page_119"></a> more recent native <i>genre</i> artists, because we see indicated in them a @@ -3475,7 +3437,7 @@ influences of the people to which he belongs.</p> in some occult way to lie at the basis of a native art, and native art founded on knowledge is therefore always the truest art; while the artist who is thus inspired will generally find material enough to call -forth his æsthetic yearnings and arouse his creative faculties at his +forth his æsthetic yearnings and arouse his creative faculties at his own door.</p> <p>In passing from <i>genre</i> to our later portraiture we do not find the same @@ -3512,7 +3474,7 @@ mental and moral traits.</p> <p>In Darius Cobb, of Boston, great earnestness is apparent in the pursuit of art, together with an exalted opinion of what should be the aims of -æsthetic culture. Mr. Cobb has attempted sculpture, monumental art, +æsthetic culture. Mr. Cobb has attempted sculpture, monumental art, portraiture, and the painting of religious compositions. We consider it a promising sign to see an artist of such energy seeking to exalt the character of his pursuit. His works seem, however, to show the lack of a @@ -3592,7 +3554,7 @@ of the best pieces of artistic work recently painted by an American.</p> </p> <p>When we come to a consideration of animal painting in this period of our -æsthetic culture, we find that it is the most barren of good results of +æsthetic culture, we find that it is the most barren of good results of any branch of our art. We are at a loss to account for this, especially as the evidences of promise are also less prominent than in landscape and <i>genre</i>. Not only has the number of the artists who have pursued @@ -3683,7 +3645,7 @@ credited with some very beautiful floral compositions. The list of ladies who have been measurably successful in realistic flower-painting is very large, and indicates the strong tendency toward decorative art in the country, which must result ere long in a distinctly national type -of that branch of æesthetic culture.</p> +of that branch of æesthetic culture.</p> <p>In arriving at the close of the second period of American painting, we are encouraged by abundant evidences of a healthy activity. While some @@ -3696,7 +3658,7 @@ wars against the culture of the ideal, combined with a rapidly spreading consciousness on the part of the people of the ethical importance of art, and a disposition to co-operate in its healthful development. At the same time new influences are entering into the national culture of -æsthetics, and branches which have hitherto received little attention +æsthetics, and branches which have hitherto received little attention from our artists are coming rapidly into prominence, suggesting that we are about entering upon a third stage of American art.<a name="page_134" id="page_134"></a></p> @@ -4032,7 +3994,7 @@ lacked—genius. Were he alive to-day, when a new order of sculpture is bursting its bonds, he would have few peers. Among his most important works are the impressive equestrian statue of Washington at Richmond, and the colossal statue of Beethoven in the Music Hall at Boston. They -were cast in the foundries of Müller at Munich, and were hailed by all, +were cast in the foundries of Müller at Munich, and were hailed by all, artists and sovereign alike, with a dramatic enthusiasm which speaks eloquently for the estimate placed upon them in one of the most notable art tribunals of Europe.</p> @@ -4071,7 +4033,7 @@ statuary; while the inequality in the merit of the sculptures already placed there would indicate that they had been chosen entirely by lot rather than by deliberate selection. Not until a permanent national art commission like that of France is appointed can we hope, in the present -unæsthetic condition of Congress, to have such art collected at the +unæsthetic condition of Congress, to have such art collected at the national capital as will be entirely creditable to the country. Such a commission, owing to the frailty<a name="page_147" id="page_147"></a><a name="page_148" id="page_148"></a><a name="page_149" id="page_149"></a> of human nature, might perhaps show partiality at times toward a favorite school; but what it did admit @@ -4446,7 +4408,7 @@ thoughtful mastery, and the results are stamped with the freshness and individuality of genius. Mr. O'Donovan's efforts have been most successful in portraiture, of which a striking example is given in the bronze bust of Mr. Page, the artist. Another bust, of a young boy, is as -full of <i>naïve</i> beauty and refined sentiment and character as this is +full of <i>naïve</i> beauty and refined sentiment and character as this is vigorous and almost startling in its grasp of individual traits.</p> <p class="figcenter"> @@ -4521,7 +4483,7 @@ prominent in our art, and are rapidly asserting their growing importance. With perhaps one or two exceptions, these new influences so gradually shade out of our former art that it is difficult to tell the exact moment when they assume an individuality of their own, and appear -as new and distinct factors in the æsthetic culture of our people.</p> +as new and distinct factors in the æsthetic culture of our people.</p> <p>It is only when we take a retrospect of the whole field, and compare one generation with another, that we discern the vanishing point of one set @@ -4605,7 +4567,7 @@ clever artists in black and white. Charles Marsh is also an engraver of remarkable character and originality of style. In the rendering of a decorative or highly ideal class of subjects he brings to his aid an artistic genius not surpassed by any engraver we have produced. Messrs. -Morse, Davis, Hoskin, Wolf, Annin, Juengling, Kingsley, Müller, Cole, +Morse, Davis, Hoskin, Wolf, Annin, Juengling, Kingsley, Müller, Cole, Smithwick and French, Kreul, Dana, Andrew, and King, among a number who have distinguished themselves in this art, are especially noteworthy, not only for correct rendering of the spirit of a drawing, but often for @@ -4690,7 +4652,7 @@ and in all our leading cities one may now find crayon artists who are more or less successful in the department of portraiture, among whom may be mentioned B. C. Munzig and Frederick W. Wright. Out of this has grown a school of landscape-artists employing charcoal—a medium that Lalanue -and Allongé had already used with magical results. John R. Key, who is +and Allongé had already used with magical results. John R. Key, who is well<a name="page_171" id="page_171"></a> known as a painter in oil, has, however, done his best work, as it seems to us, in charcoal. There is great tenderness in his treatment of light and shade, together with harmonious composition. J. Hopkinson @@ -4835,7 +4797,7 @@ facilities afforded for drawing from the life. Most of these artists are young men, whose abilities have been vastly assisted by their studies in life schools, which it would have been well-nigh impossible for them to find in the earlier periods of our art. Although perhaps better noticed -under the head of Ethics rather than of Æsthetics, we may allude to the +under the head of Ethics rather than of Æsthetics, we may allude to the surprising growth and influence of caricature-drawing in this country, represented by such able artists as Nast, Bellew, Kepler, or Cusack, as associated with the development of our black and white art.</p> @@ -5011,7 +4973,7 @@ purposes. But a building which, perhaps, more than any other is typical of the architectural movement now passing over the country is the Museum of Fine Arts in Boston. It is not so much after any one style as a choice from different schools of later Gothic adapted to modern -conditions. The terra-cotta groups in relievo in the façade, temper what +conditions. The terra-cotta groups in relievo in the façade, temper what would be otherwise too large an expanse of warm color, for it is built of red brick. The grouped arches, turrets, and oriel windows, and the numerous terra-cotta decorations at the angles and on the gables, are @@ -5112,7 +5074,7 @@ rapid progress in America. And there is still another movement which strikingly indicates this. Slow to be recognized, and meeting in some quarters with but cold welcome, it is yet by no means the least significant indication out of many that we are in the full tide of -æsthetic progress, and have fairly entered on the third period of +æsthetic progress, and have fairly entered on the third period of American art. From the time of West it has been not uncommon for our painters to go to Europe for study and observation; but they either had the misfortune to form their style after that of schools already @@ -5201,7 +5163,7 @@ methods, but altogether as an influence, and in no sense as an imitation, for in his works there is always evident a sturdy self-assertion, whether in subject or treatment. In catching the gray effects of brooding skies receding in diminishing ranks through an -aërial perspective of great distance and space, and giving with fine +aërial perspective of great distance and space, and giving with fine feeling the Druid-like spirit of clumps of sombre russet-hued cedars moaning by the granite shore of old Massachusetts, and identifying himself with the mysterious thoughts they suggest, Mr. Gifford has no @@ -5261,7 +5223,7 @@ grasp.</p> <p>It is useless to deny that, extravagant as some of the works of the contemporary impressionists appear to many, they undoubtedly present a -keen appreciation of aërial chromatic effects, and for this reason are +keen appreciation of aërial chromatic effects, and for this reason are worthy of careful attention. That they are not carried nearer to completion, however, indicates a consciousness on the part of the artist that he is as yet unable to harmonize the objective and subjective, the @@ -5295,7 +5257,7 @@ position which they hold, and always will hold, in the art world.</p> must ascribe the initiation of the third period in our pictorial art, and perhaps, in a secondary manner, the general impulse toward foreign styles now modifying the arts of design in this country. When Mr. Hunt -went to Düsseldorf to study, in 1846, he did no more than many of our +went to Düsseldorf to study, in 1846, he did no more than many of our artists had already done. But when, dissatisfied with the conventionalism of that<a name="page_194" id="page_194"></a> school, he turned his steps to Paris, and became a pupil of Couture, and was one of the first to discover, to @@ -5387,7 +5349,7 @@ scenery or the varied splendor of Oriental architecture and costumes. There is something Byronic in the fervor of this artist's enthusiasm for the East, and the easy adaptability that has enabled a son of New England to identify himself with the life and scenery of lands so -exactly the opposite of his own. Although a pupil of Bonnât, and an +exactly the opposite of his own. Although a pupil of Bonnât, and an ardent admirer of the excessive realism now affected by some of the followers of the later French school, Mr. Weeks is, in spite of himself, an idealist, and no imitator of any style. This has, perhaps, been an @@ -5412,10 +5374,10 @@ the war intensified his interest in equine art, and will probably result in important compositions suggested by that conflict. C. R. Grant has a delicate poetic feeling for color and form, and a pleasant fancy tinged with quaintness; and in his choice of treatment and subject suggests the -works of G. H. Boughton. In T. W. Dewing, a pupil of Lefévre, who has +works of G. H. Boughton. In T. W. Dewing, a pupil of Lefévre, who has recently settled in Boston, we find much promise in figure-painting, but altogether after the clear-cut, well-drawn, but somewhat dry method of -Gérôme.</p> +Gérôme.</p> <p>J. Foxcroft Cole, who has been a careful student of the best phases of French landscape art, but has formed, at the same time, a sufficiently @@ -5483,7 +5445,7 @@ destined to affect American art for ages to come.</p> <p>The writer regards as among the most improving and delightful evenings he has enjoyed those passed with some of these talented and enthusiastic art students at the table where a number regularly met to dine—at the -Max Emanuel café in Munich. Dinner over, huge flagons of beer were +Max Emanuel café in Munich. Dinner over, huge flagons of beer were placed before each one, and pipes were lit, whose wreaths of upward-curling smoke softened the gleam of the candles, and gave a poetic haze to the dim nooks of the hall that was highly congenial to @@ -5504,7 +5466,7 @@ equally in oil and water colors, and is now giving a preference to American subjects, and also turning his attention to the pursuit of decorative art. He is essentially a colorist, to whom the radiant tints of the iris seem like harmoniously chorded strains of music. William -Sartain, a pupil of Bonnât and Yvon, has also proved himself an +Sartain, a pupil of Bonnât and Yvon, has also proved himself an excellent colorist, and shows vigor and truth of drawing both in figure and architectural perspective, as well as pleasing composition in work which he has done abroad.</p> @@ -5612,7 +5574,7 @@ the Ride" is a fine, thoughtful ideal figure of a lady by this artist.</p> </p> <p>In Philadelphia the new movement has some powerful allies, among whom -should be prominently mentioned Thomas Eakins, a pupil of Gérôme, and at +should be prominently mentioned Thomas Eakins, a pupil of Gérôme, and at present professor in the Philadelphia Academy of Art. One of Mr. Eakins's most ambitions paintings represents a surgical operation before a class in anatomy. It is characterized by so many excellent artistic @@ -5716,7 +5678,7 @@ Artists' Funding Society, <a href="#page_088">88</a>.<br /> Artists' League, <a href="#page_186">186</a>.<br /> -Athenæum, Providence, <a href="#page_031">31</a>.<br /> +Athenæum, Providence, <a href="#page_031">31</a>.<br /> Augur, Hezekiah, <a href="#page_138">138</a>.<br /> @@ -6166,7 +6128,7 @@ Mount, William Sidney, <a href="#page_052">52</a>, <a href="#page_086">86</a>, < Muhrman, William H., <a href="#page_207">207</a>.<br /> -Müller, R. A., <a href="#page_168">168</a>.<br /> +Müller, R. A., <a href="#page_168">168</a>.<br /> Munzig, B. C., <a href="#page_170">170</a>.<br /> @@ -6502,386 +6464,6 @@ receipt of the price</i>.<a name="page_216" id="page_216"></a></p> <hr class="full" /> - - - - - - -<pre> - - - - - -End of the Project Gutenberg EBook of Art in America, by -Samuel Greene Wheeler (S.G.W.) 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