File:Peter Paul Rubens - Autumn.jpg

Identifier: landscapefigurepai00sher (find matches)
Title: Landscape and figure painters of America
Year: 1917 (1910s)
Authors: Sherman, Frederic Fairchild, 1874-1940
Subjects: Landscape painting Figure painting
Publisher: New York : Privately printed
Contributing Library: Getty Research Institute
Digitizing Sponsor: Getty Research Institute

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impressiveand has had a strong influence on the subse-quent art of his country. (See Plate 7.) Heis lacking in enthusiasm, and devotes himselftoo much to the antique. He is somewhatcold and formal, but his style is very original.He is opposed to naturalism, the taking ofnature literally as it is seen. On the contraryhis pictures are full of thought, and he de-scribes painting as an image of things incor-poreal rendered sensible through imitation ofform. He considers that the idea shouldfirst be conceived clearly, and then reproducedby means of external forms, used as symbols,and treated so as to enable the spectator toPainting, understand the idea in the picture. It isFrench^by verv remarkable that he should have arrivedGerard w. at these views at this early period. We also Smith. see that his pictures reflect his own moodsvery strongly. In a very fine painting, InArcady, he depicts some youthful shepherdscoming accidentally upon a tomb with theinscription Et in Arcadia ego, and this
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A BRIEF HISTORY 15 picture is full of the melancholy thoughtsthat filled his own soul. Claude devoted his whole time to paintingpure landscape (see Plate 8), and he aban-doned the human motive almost entirely inhis pictures, although, as Turner also did withsome of his, he still gave them classical names.He seems to have been the first to fully realizethe great importance of this branch of art,and he was also the first to fill his paintingswith light; and he gives expression to allthe varying effects of sunshine, its sparkle inthe early morning dew, its dazzling middayradiance on the water, its rosy hues towardsevening. For this, and the beauty and origi-nality of his work, if one artist were to bechosen as the founder of modern landscapepainting, that title would be rightly given toClaude. His influence has been very greatand has had a lasting effect. Even Turner,two hundred years later, was anxious to showthat he could rival the work of his illustriouspredecessor. The composition of

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