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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ansparent, and glassy—thin and transparent, so that any object woulddrop through it to the bottom ; glassy, so that the waves would cut right intoa ship. The artist, however, gives you water on which a vessel can safelyfloat—wet water, water with movement and body to it. I like nothingbetter than to paint a storm. Mr. De Haass style is neither what is known as the broad nor what maybe called the minute. He always tries to finish a picture as far as the impres-sion that he desires to convey will allow ; but his finish is rather in color thanin lines. He believes in trying to represent things as he sees them in Nature;and he cares nothing for book-principles of art. I dont think, he exclaimed, that a picture is ever done; I may think that I cant do any more toit—and, indeed, I never let a picture go that I can improve; but a com-pleted picture does not exist. When I see one of my old pictures, sometimesI feel like changing it, and at other times I am surprised to see it looking so
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THE COAST OF FRANCE.From a Painting by M. /•. //. De Haas. p. 40. MAURITZ FREDERICK EENDRICK DE IIA AS. II well. I Lave, and always have had, a special fancy for moonlight-scenes; theoftener I see them the more I am impressed by them. The moonlight-scenesin and near New York are, I think, finer than in any other locality, except per-haps on the ocean. They are more luminous, more highly-colored, and moreatmospheric, than in Europe. The cloud-scenery in the suburbs of New Yorkis the noblest and most beautiful in the world. The great charm of marine painting, he says, consists in the fact thaievery cloud of any size affects the color- of the water, so much so that whatyou see is rather sky-reflection than the real color of the water, except, ofcourse, in the immediate foreground. Wind, also, comes in and changes thecolor. On the surface of a lake, when there is no wind and no motion, thesky is perfectly mirrored. I have seen instances where you could hardly tellwhich was sky and which

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