File:Enoch Wood Perry, Jr. - Fireside Stories.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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, asthe present popular art-nomenclature counts correctness ; but the connoisseurwho desired to contemplate him on his brightest and best side would devoteattention chiefly to that admirable quality of his still-life painting of whichmention has just been made, and good examples of which have been seen inNew York at almost every Academy exhibition during the last ten years. Mr. Perry was born in Boston, Massachusetts, in the year 1831. Whenseventeen years old he became a clerk in a commission-house in New Orleans,where iu three years he succeeded in saving the sum of eleven hundred dol-lars. This mouey enabled him to study art and to develop his artistic capaci-ties. With it in his pocket, he bade adieu to the counting-room and went toEurope. The late Mr. Emanuel Leutze, a figure-painter of no mean cisatlan-tic reputation at that time, was living in Diisseldorf, and to him, as was alto-gether natural, the aspiring young clerk turned, after making the usual tour ■I p II ■WMHUMiniii
Text Appearing After Image:
FIRESIDE STORIES. From a Painting by E. Wood P p. TO. E. WOOD PERRY. 71 of London and Paris. So well did Mr. Leutze treat him, and so pleased mu-tually were scholar and teacher, that it was not until the end of a pupilage oftwo years and a half that Mr. Perry found himself departing from Diisseldorf.Then he went to Paris and took lessons of Couture, in whose studio DanielHuntington, Thomas Hicks, and other American painters, had already servedan apprenticeship of longer or shorter duration, and whose methods Mr. Hun-tington once described to the present writer as follows: After making theoutline of the picture in charcoal, oil, and turpentine, Couture nil died overthe canvas a transparent, warm tint of a deep-toned salmon-color. Next, withanother warm tint, he deepened the strongest shadows of the sketch, develop-ing the light and shade. Next he painted, with a neutral gray inclining togreen, the masses of shadow in the flesh, and into that neutral gray drapedsome bloody tints, giving

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