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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nged,and his brush work grew vigorous and broad.He discovered how much he could leave out,in trying to give the essentials only, to securethat simplicity and suggestiveness, the bestpart of every work of art. The beginner seesonly detail, the artist sees the essence andsuggests detail. Here it is that so many fail.They cannot see what are the essentials.Happy they who can, and are enabled to sub-ordinate everything else, leaving out theprose of nature and giving only the spiritand splendour.1 A time comes to every artist, after he haslearned the technical side of his art and hasbecome what Ruskin calls a respectableartificer, when he must begin to give hismessage and thoughts to the world throughthe medium of his works. If he has nothingto tell,2 he is not a living force, no matter howmuch admiration brilliant technique may draw. You have the Pyrrhic dance as yet;3Where is the Pyrrhic phalanx gone? are the words the great critic quotes for theartist who depicted the luxurious idleness
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Plate XLI. — Autumn near the Hague. J. H. Weissenbruch. J. H. WEISSENBRUCH of the Romans in their decline, with fascinat-ing skill, but whose work had no speakingpower to his fellow-men.1 What would be1 The Artthought of Corot if we only had his early jfn^ftightly-painted pictures to judge from, and not ^ag^.102his Biblis or Le Soir ? What of Mauve, whosegreat work was in his later years? Indeed,thus does it nearly always happen with trueartists. As they grow older they find that thetechnical perfection they sought for at firstis only the language they have to use, andthat the all-important matter is to use thelanguage they have learned, to render in propermanner the big things in nature and in artas they appear to the sympathetic imaginationof the artist. Filled with this idea their workgrows broader and broader, though to thebeholders apparently more simple,2 through 2«Allgreatthe perfect mastery of the subject. Thus it actions have . , . been simple, was with Weissenbruch, and,

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