File:American art and American art collections; essays on artistic subjects (1889) (14782698222).jpg

Identifier: americanartamer01mont (find matches)
Title: American art and American art collections; essays on artistic subjects
Year: 1889 (1880s)
Authors: Montgomery, Walter
Subjects: Art Artists Art
Publisher: Boston, E.W. Walker & co
Contributing Library: Smithsonian Libraries
Digitizing Sponsor: Smithsonian Libraries

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se pencil has since given pleasure to admirers of the beautiful in art), — made a secondtrip to Europe and Africa. This time he went to France and Algeria, and pitched his tent 25: AMERICAN ART in the Desert of Sahara itself. An Egyptian Caravan was sent by him to the Academy Ex-hibition of 1876. He received a medal at the Centennial Exhibition in Philadelphia. His third period dates from the organization, in 1877, of the Society of American Artists,of which he is a leading member, and to the first exhibition of which in the following yearhe contributed his Cedars of New England, owned by Mr. George E. Clark. This picture washis representative in the Paris Exhibition of 1878, and the critic of the London Athenceumsaid of it: It is an excellent motive, showing feeling for effect; more serious study andattempt at realization would have resulted in a valuable picture, — a criticism entirely char-acteristic of an Englishman, who would define art itself to be an attempt at realization.
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The Coast of New England.By R. Swain Gifford. — From a Sketch by the Artist. M. Charles Blanc, the French critic, says that England has never had any really greatartists, and insinuates, if he does not assert, that she does not know what art is ; theLondon Spectator a few months ago feared that, under the press of Manchester patronageand Academic criticism, the higher imaginative art had almost breathed its last breathin the land of Landseer and Holman Hunt; and Mr. Mark Pattison, the accomplished Rectorof Lincoln College, Oxford, affirms that, during the last twenty years, English taste has re-trograded rather than advanced. These eminent authorities may or may not be trustworthy;certainly there is nothing in the London Athenceum s criticism of Mr. Giffords picture tothrow suspicion upon the truth of their testimony. Neither the Cedars of New England norany other of Mr. Giffords riper works is or was intended to be an attempt at realization.Mr. Gifford does not make such an attempt

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