Art in America; a critical and historical sketch . THE YOSEMITE. [THOMAS HIEL.] to us those unrevealed wonders; and Thomas Moran, taking his lifein his hands, in the language of religious cant, aspired to capture thebouquet, the first bloom, from this newly-opened draught of AMERICAN PAINTERS. 103 We all know the result. Who has not seen his splendid painting of theGorge of the Yellowstone, now in the Capitol at Washington? Grant-ing the fitness of the subject for art, it can be frankly conceded that thisis one of the best paintings of the sort yet produced. The vivid local col-o
Art in America; a critical and historical sketch . THE YOSEMITE. [THOMAS HIEL.] to us those unrevealed wonders; and Thomas Moran, taking his lifein his hands, in the language of religious cant, aspired to capture thebouquet, the first bloom, from this newly-opened draught of AMERICAN PAINTERS. 103 We all know the result. Who has not seen his splendid painting of theGorge of the Yellowstone, now in the Capitol at Washington? Grant-ing the fitness of the subject for art, it can be frankly conceded that thisis one of the best paintings of the sort yet produced. The vivid local col-ors of the rocks, which there is no reason to doubt have been faithfullyrendered—for Mi. Moran is a careful and indefatigable student of certainphases of nature—appear, however, to give such works a sensational effect. This seems to us to be the most valuable of the numerous paintings ofWestern subjects produced by this artist. It would be a mistake, how-ever, to judge him wholly by the more ambitious compositions suggestedby tropical or Western scenery. Some of his ideal paintings are veryclever, and show us an ardent student of nature, and a mind inspired by afervid imagination. But while conceding thus much to the talents of thisartist—who belongs to an artistic familj7, t
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Keywords: ., boo, bookcentury1800, bookdecade1880, booksubjectart, bookyear1880
