Review of reviews and world's work . ks cut out. A GROUP OF LANDSCAPES. The landscapes and marines are for tliemost part of an art less hifi;hly developedthan are the fif^urc subjects. There are nosurfaces on which light falls and air sur-rounds with as much truth as in the Vermeerstill-life objects. Ihe landscapes are funda-mentally monotones. Almost every onewould be as satisfactory in a good photo-graphic reproduction as it is in the originalpainting. With the memory of Americanlandscape in mind the Dutch landscapesseem heavy and impossible in color. For-getting for a moment, however, their
Review of reviews and world's work . ks cut out. A GROUP OF LANDSCAPES. The landscapes and marines are for tliemost part of an art less hifi;hly developedthan are the fif^urc subjects. There are nosurfaces on which light falls and air sur-rounds with as much truth as in the Vermeerstill-life objects. Ihe landscapes are funda-mentally monotones. Almost every onewould be as satisfactory in a good photo-graphic reproduction as it is in the originalpainting. With the memory of Americanlandscape in mind the Dutch landscapesseem heavy and impossible in color. For-getting for a moment, however, their lack ofcolor, we may find in them evidences of theclose observation of nature that reminds usthat in Dutch qrt was the beginning ofmodern landscape painting. The large Hobbema, Cottage Amongthe Trees, is a noble presentation of trees are effectively massed and thecottage showing through them is paintedwith more color perception than is usual inthe Dutch landscape. Jacob Van Ruisdaels Gnarled Oak, while so dark that it is.
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Keywords: ., bookcentury1800, bookdecade1890, bookidreviewofrevi, bookyear1890
