American painting and its tradition : $b as represented by Inness, Wyant, Martin, Homer, La Farge, Whistler, Chase, Alexander, Sargent — John Shaqi
American painting and its tradition : $b as represented by Inness, Wyant, Martin, Homer, La Farge, Whistler, Chase, Alexander, SargentVan Dyke, John C.
History
American painting and its tradition : $b as represented by Inness, Wyant, Martin, Homer, La Farge, Whistler, Chase, Alexander, Sargent
Van Dyke, John C.
Painters -- United States; Painting -- United States
The man and his impulsive nature never changed, though he kept shifting
his methods and his point of view from year to year. He went his own
pace and was always something of a recluse. The art movements about him
interested him in only a slight way. The Academy of Design honored him
with membership, but he cared little about it. The Society of American
Artists elected him a member also, but he cared even less for the
brilliant painting of the young men than for the weak performances of
the academicians. He kept very much to himself and painted on in his
own absorbed, impulsive fashion. His studio was only a bare barn of
a room with a few crazy chairs in it. Wall-hangings, stuffs, screens,
brass pots, shields, spears--the artistic plunder which one usually
finds in a painter’s apartment--he regarded as so much trumpery. In
his later days he came and went to his studio from Montclair, seeing
landscapes out of the car-window, and in his mind’s eye seeing them
upon his canvases. His art swayed him completely.
[Illustration: “Hackensack Meadows,” by George Inness.]
He had no pupils, though he corrected, advised, and instructed many
young painters after his own method. It was a decidedly arbitrary
teaching. Elliott Daingerfield tells a story of one of his own
landscapes in which a rail fence was running down into the foreground.
When Inness was asked in to criticise the canvas, he objected to the
fence and said it should be taken out.
“Why can’t I have the fence there if I want it?” Daingerfield
protested. To which Inness replied:
“You can if you want to be an idiot.”
His criticism of older painters and pictures was just as unqualified.
And in matters outside of art, where he spoke with no peculiar
authority, his vehemence was no less. Crossing on the _Arizona_ in
1887, he talked every one out of the smoking-room on the Single Tax
question, so a friend informs me. In 1894, when I happened to be
crossing with him, he was as positive as ever about his religious,
socialistic, and political convictions. His interest and enthusiasm
were in no degree abated. In the mornings he sat on deck wrapped up in
rugs under the lee of a life-boat, and amused himself doing examples
in vulgar fractions out of an ordinary school arithmetic; but in the
afternoon he liked to talk, and I was a willing listener, though I had
heard him discourse many times.
Public-domain text, read in full here on John Shaqi.
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