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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the true, and the sympathetic. Hisfinest works are the trusted companions ofour solitude, and never fail to join in the har-mony of the thoughts that seek to be alone.They speak, but it is in language that perhapsfew hear and fewer of us fully understand orappreciate. And as we go back to our boy-hood dreams and aspirations, and the long,long thoughts of youth, so we turn to ourfriends given to us by Weissenbruch, andcling to them when the works of men evengreater than he in the eyes of the worlds criticsgrow cold and lifeless. This is the way the pictures of Weissen-bruch appeal to those who appreciate theirbeauty and tenderness of feeling. And inthis sense, perhaps, no man ever attained therank of Weissenbruch as a purely landscapepainter. He quickens our sense of beautyand our highest perception of truth by hisgreat and simple loneliness, and draws usinto harmony with the fitful moods of naturesever-varying temperament. There is no falsepretence, no jarring note in his work or its
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J. H. WEISSENBRUCH 195 methods. The power of his pictures lies inthe fact that they create in our minds sym-pathy with their moods and a fellow-feelingin their company. They touch some chordthat lies hidden, and which answers only tothe mysterious call of a power greater thanitself, and yet in unison with it. Thus mustWeissenbruch, as time goes on, appeal to andreach an ever-widening circle that is boundedonly by the limits of thought and human joyand sadness. Of all purely landscape painters, Weissen- The bestbruch is the most typically Dutch in his art. £*resareHe never strays afield or wanders to other draughts of ... a few of the lands for subjects. For him it is not necessary. miracuiousFor round about Haarlem, the Hague, or dots and lines and Noorden, on the sandy shore of Scheveningen dyes, whichor on the flats of Zeeland, he finds material ™ake up 1 the ever- for a lifetime; warm, sunny skies, storm changing . , . . landscape and ram, the great solemn sea, and the ever- wit

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