American painting and its tradition : as represented by Inness, Wyant, Martin, Homer, La Farge, Whistler, Chase, Alexander, Sargent . so far as subjectgoes. Titian, Velasquez, and Rembrandt nevercared to go beyond their own bailiwicks formaterial. And Inness—though he may not rankwith those just mentioned—found all the ma-terial he needed within fifty miles of New was the discovery of this material, his pointof view regarding it, what he did with it, andwhat he made us see in it, that perhaps giveshim his high rank in American art. The man and his impulsive nature neverchanged, though
American painting and its tradition : as represented by Inness, Wyant, Martin, Homer, La Farge, Whistler, Chase, Alexander, Sargent . so far as subjectgoes. Titian, Velasquez, and Rembrandt nevercared to go beyond their own bailiwicks formaterial. And Inness—though he may not rankwith those just mentioned—found all the ma-terial he needed within fifty miles of New was the discovery of this material, his pointof view regarding it, what he did with it, andwhat he made us see in it, that perhaps giveshim his high rank in American art. The man and his impulsive nature neverchanged, though he kept shifting his methodsand his point of view from year to year. He wenthis own pace and was always something of a re-cluse. The art movements about him interestedhim in only a slight way. The Academy of De-sign honored him with membership, but he caredlittle about it. The Society of American Artistselected him a member also, but he cared evenless for the brilliant painting of the young menthan for the weak performances of the acad-emicians. He kept very much to himself andpainted on in his own absorbed, impulsive fash-. GEORGE INNESS 80 ion. His studio was only a bare barn of a roomwith a few crazy chairs in it. Wall-hangings, stuffs,screens, brass pots, shields, spears—the artisticplunder which one usually finds in a paintersapartment—he regarded as so much his later days he came and went to his studiofrom Montclair, seeing landscapes out of thecar-window, and in his minds eye seeing themupon his canvases. His art swayed him com-pletely. He had no pupils, though he corrected, advised,and instructed many young painters after hisown method. It was a decidedly arbitrary teach-ing. Elliott Daingerfield tells a story of one ofhis own landscapes in which a rail fence wasrunning down into the foreground. When Innesswas asked in to criticise the canvas, he objectedto the fence and said it should be taken out. WTiy cant I have the fence there if I wantit? Daing
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Keywords: ., bookcentury1900, bookdecade1920, booksubjectamerica, bookyear1920
