File:George Inness - Light Triumphant.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

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hich we have engraved. Mr. May-nard, of Boston, bought some of his finest works, notably a large road-scene attwilight. His style then was rich and full in color, strong and impulsive. Ialways felt, he says, as if I had two opposing styles —one impetuous andeager, the other classic and elegant; so that, while some of his pictures weredashed off under an inspiration, others were painfully elaborated. Afterfour years he left Meclfield for Eaglewood, near Perth Amboy, New Jersey.There he fell into the study of theology, which for seven years was almost hisonly reading. Meanwhile he painted a number of highly-successful land-scapes, the best of which is twenty by thirty inches, and belongs to Mr.Skates, of New York. He returned to New York, lived there a year, wentagain to Rome, remained there and in Paris four years, his pictures graduallyassuming a more studied style, came back to this country, sojourned a year inBoston, and then found his way to New York, where his home has been ever
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5 £ $ GEORGE INN ESS. 31 since. His Homestead and Autumn, the former in the South Room andthe latter in the North Room during the exhibition in the New York NationalAcademy in 1877, are undoubtedly the best things he ha9 yet done, the Homestead being especially noteworthy for its elaboration and for its per-fection of natural quality. The texture of the grass in the foreground andthe fullness and harmony of local color are wonderfully true to Nature.These traits are characteristic of his landscapes. His favorite process of paint-ing is as follows: First, he stains his white, fresh canvas with Venetian red,but not enough to lose the sense of entire transparency. Then, with a pieceof charcoal he draws, more or less carefully, the outlines of the picture, after-ward confirming the outline with a pencil, and puts in a few of the prominentshadows with a little ivory-black on a brush. His principal pigments arewhite, very little black, Antwerp-blue, Indian-red, and lemon-chrome. Hebegins a

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