File:American painters- with eighty-three examples of their work engraved on wood (1879) (14767436381).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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e Colora-do also was purchased by the Government for ten thousand dollars. Thenext year he painted his Mountain of the Holy Cross, from original studies.Other works of his are The Last Arrow, The Ripening of the Leaf, Dreamland, The Groves were Gods First Temples, The Pictured Rocksof Lake Superior, The Conemaugh in Autumn, The First Ship, TheFlight into Egypt, The Remorse of Cain, The Children of the Mountain, The Track of the Storm, and The Pons de Leon, Florida, which is in theCorcoran Gallery in Washington. His wife is also an accomplished artist. A critic who saw Mr. Morans Mountain of the Holy Cross during itsexhibition in New York in April, 1875, wrote concerning it as follows: Totin technical merits of Mr. Morans work the highest praise may be awarded.The foreground is charmingly painted, the color is unusually pure and truth-ful, the rocks have all the solidity of Nature, the foliage is crisp and welldefined, and there is motion in the water. At the same time, the aerial per-
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A GLIMPSE OF FRANCONIA NOTCH, NEW HAMPSHIRE. From a Painting by Francis Hopkinson Smith. \>. 122. THOMAS MORAN. 123 spective has been managed with so much skill that the spectator really feelsas if the grand mountain, on which shines the glittering cross, were mammiles away. In its general treatment, The Mountain of the Holy Crossreminds us strongly of the studies of Calame, that almost unrivaled painter ofwild mountain-scenery, though at the same time we fully recognize the factthat Mr. Morans work bears the unmistakable stamp of originality, and wethink that it will unquestionably take rank as one of the finest examples ofAmerican landscape-art that has yet been produced. Mr. Moran may well beproud of a work exhibiting so much technical skill, combined with such noblesimplicity and even severity of treatment; and all who take an interestin the progress of American art must gratefully recognize the fact that atlast we have among us an artist eminently capable of interpreting these

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