English Painters, with a Chapter on American PaintersWilmot-Buxton, H. J. (Harry John)
History
English Painters, with a Chapter on American Painters
Wilmot-Buxton, H. J. (Harry John)
Painters -- England; Painters -- United States
The United States being a maritime power, it would be quite natural to
look for a development of marine painting among her artists. Until
lately, however, very little has been done in this branch of art, and
that little mostly by foreigners. THOMAS BIRCH, an Englishman (died
1851), painted the battles between English and American vessels in an
old-fashioned way in Philadelphia, while Boston possessed an early
marine painter of slender merit in Salmon. A. VAN BEEST, a Dutch marine
painter, who died in New York in 1860, is chiefly of interest as the
first teacher of several well-known American painters of to-day. JOHN E.
C. PETERSEN (1839--1874), a Dane, who came to America in 1865, enjoyed
an excellent reputation in Boston. The leading name, however, among the
artists of the past in this department is that of JAMES HAMILTON
(1819--1878), who was brought to Philadelphia from Ireland in infancy,
and went to England for purposes of study in 1854. In many of his
phantastic productions, in which blood-red skies are contrasted with
dark, bluish-gray clouds and masses of shadow, as in _Solitude_, and an
Oriental landscape in the Pennsylvania Academy, the study of Turner is
quite apparent. But he loved also to paint the storm-tossed sea, under a
leaden sky, when it seems to be almost monochrome. One of his finest
efforts, _The Ship of the Ancient Mariner_, is in private possession in
Philadelphia. His _Destruction of Pompeii_ is in the Memorial Hall,
Fairmount Park, in the same city. Hamilton, whose somewhat unsteady mode
of living is reflected in the widely varying quality of his work, very
properly closes our review of this epoch, as he might not
inappropriately be classed with the artists of the period next to be
considered.
FOURTH, OR PRESENT PERIOD.
It has been remarked already that the American students who went to
England up to the middle of the present century were not influenced by
those painters who, like Constable, are credited with having given the
first impulse towards the development of modern art. This is true also
of those who went to France.
Public-domain text, read in full here on John Shaqi.
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