File:The art of painting in the nineteenth century (1908) (14760468736).jpg

Identifier: artofpaintinginn00machrich (find matches)
Title: The art of painting in the nineteenth century
Year: 1908 (1900s)
Authors: Mach, Edmund von, 1870-1927
Subjects: Painting -- History
Publisher: Boston and London, Ginn and company
Contributing Library: University of California Libraries
Digitizing Sponsor: MSN

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i860 ), an American of cosmopolitan habits, who lives in Holland butretains studios in many other places, among themNew York. His motto is Klar und Wahr,and he has kept to it always. In portraiture heis not uniformly successful, so that his Presi-dent Roosevelt is a good picture but a poor por-trait, for it in no sense suggests the character ofMr. Roosevelt. The nourishing state of American art is bestappreciated when, for a brief survey of it, onepasses in review the best known names and realizesthe impossibility of mentioning even a small num-ber of them. There is Elihu Vedder (1838 ), with all his flaming fancies; Abbott H. Thayer (1849 ), who so beautifully knew how to group his children in Charitas and similar pictures; George de Forest Brush (1855 ); Miss Mary Cassatt; Miss Laura Coombs Hills (1859 ), the foremost painter of miniatures; Childe Hassam (1859 ); Kenyon Cox (1856 ), who writes as well as he paints; Frederic Porter Vinton(1846 ), the aristocrat of the old school; and
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O a ^H AMERICAN PAINTING 119 Charles H. Davis (1856 ), who worships at the shrine of beauty. And then there is the wholelarge school of landscape painters, most of whomare still living, and each year adding to theirreputation. Of those who have recently died,Homer Martin (1836-1897), Robert C Minor(1840-1904), and John H Twachtman (1853—1902) were the best known. Of the marine painters, Thomas A. Harrison (1853 ), Wins low Homer (1836 ), and Charles H. Woodbury (1864 ) are the greatest masters, with eight or ten as close seconds. In their handsmarine pictures have taken on an entirely newaspect. Woodbury, for instance, studies the seaas sincerely and intimately as the greatest land-scapists have studied the land. Personally heseems to like the turbulent aspects of the ocean,rendering them at all times convincingly and with-out reference to man. When he paints a wave,there is no ship in sight, no shore, no swimmingman, but only the wave, and this one wave be-comes a true and powerful

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