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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rinciples and putthem into general practice, and carried themfurther than had been seen before. His mainidea was to give the effect of atmosphere andlight in nature, and he realized that this couldonly be done by giving the appearance ofgreat simplicity in his paintings and leavingout all detail that could be dispensed with. To see how these principles could be de-veloped and applied to figure painting, and tointeriors as well as to landscapes, we haveonly to look at the late work of the Marises,Mauve, Israels, Weissenbruch, and Bosboom,and to notice its great boldness and breadthin execution, and its extreme simplicity inappearance. In the later works of JamesMaris and of Weissenbruch the generaliza-tion of Constable has been carried out to thelatest development so far known. Whatever subjects these modern Dutchartists paint, those who have made a carefulstudy of their works know how completelythey are taken up with the fascinating prob-lem of light, and realize the wonderful success
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Plate XX. — Sand Boat — Evening. J. H. Weissenbach. MODERN DUTCH ART 115 they have achieved in depicting the effectsof atmosphere. To this everything in theirpaintings is put in a subordinate place, andwhether they render the mysterious grey ofearly morning, the bright sunshine of day,or the falling of the shadows of evening, theatmosphere surrounding everything is theirfirst consideration. For this they leave outand discard many things, for this they blurthe outlines, for this they make the form anddrawing indistinct and vague, and for thisthey are willing to sacrifice much. They feelthat it is the most important thing to be secured.Their intimate knowledge of pigments, andtheir masterly use of them, usually in lowtones of greys and browns, but often, as inthe work of the Marises, in schemes of bril-liant colour, help largely in producing trueaerial perspective. This all gives their pic-tures an appearance and feeling of simplicityand naturalness, which is peculiar to them andver

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