International studio . IAM MKRRirr CHASE:HIS ART AND HIS IN -FLUKNCEBY KATHARINK M. ROOF In passing through a gallery it is often unnec-essary to look for the signature in order torecognize the painter. This may be a questionof personality or of manner. The big man hasartistic jiersonality, the lesser one a manner. Theclever painter has mannerisms, the master hastouch. The brush of William M. Chase had than that it held the elusive secret ofstyle. And style is aquality of the most talented stu-dents work can onlypromise, not [)ossess canvases of many astrong painte
International studio . IAM MKRRirr CHASE:HIS ART AND HIS IN -FLUKNCEBY KATHARINK M. ROOF In passing through a gallery it is often unnec-essary to look for the signature in order torecognize the painter. This may be a questionof personality or of manner. The big man hasartistic jiersonality, the lesser one a manner. Theclever painter has mannerisms, the master hastouch. The brush of William M. Chase had than that it held the elusive secret ofstyle. And style is aquality of the most talented stu-dents work can onlypromise, not [)ossess canvases of many astrong painter lack cannot be acquired,it is the most aristo-cratic and intangible ofall the qualities that goto make a good seems a gift as subtleand innate as magnet-ism. Vet at this pres-ent period—or — of paintingwhen brilliant but toooften unsound tech-ni<|ue on the one hand,and the hysterical un-ins])ire(l search for ec-centricity and original-it yon theot her are mostin evidence, it would. Till \H 11--I -^ Wll I seem as if this precious heritage of the oldmasters were the rarest thing in modern art. In analysing those qualities and phases whichconstitute the individuality of Chases art andwhich have become its influence, one wouldselect as most obvious his painting of the figurein the interior and in the open, his revivificationand development of the art of still life, and acertain distinctive treatment evolved from thestudy of Japanese art. From the old Dutch masters he learned muchconcerning the treatment of the figure in the in-terior and the painting of indoor light. Thatwas one of his contributions to American art, buthe did not imitate theDutch masters, he as-similated them andlater gave out in amanner of his own. Entirely underivedwas his use of the figurein the landscape; thefigure not dominatingbut an integral part ofthe landscape. No onehas ai)prcciated as hehas the value of thesmall decisive humannote in relation to thelarge siwces of s
Size: 1381px × 1810px
Photo credit: © The Reading Room / Alamy / Afripics
License: Licensed
Model Released: No
Keywords: ., bookcentury180, booksubjectart, booksubjectdecorationandornament
