American painting and its tradition : as represented by Inness, Wyant, Martin, Homer, La Farge, Whistler, Chase, Alexander, Sargent . awing, hid it under thateasy brush-stroke which he liked so much andwhich he usually handled so efiFectively. Some-times it went astray. It was not the premed-itated sweep of Rubens or the infallible touchof Velasquez. It was more like Goya or Stevensor Vollon—^painters whose brushes were not al-ways impeccable. However, the brush of Chasewas sure enough, and with its spirit and swiftmovement it certainly gave that oratorical ef-fect to which he compared paintin
American painting and its tradition : as represented by Inness, Wyant, Martin, Homer, La Farge, Whistler, Chase, Alexander, Sargent . awing, hid it under thateasy brush-stroke which he liked so much andwhich he usually handled so efiFectively. Some-times it went astray. It was not the premed-itated sweep of Rubens or the infallible touchof Velasquez. It was more like Goya or Stevensor Vollon—^painters whose brushes were not al-ways impeccable. However, the brush of Chasewas sure enough, and with its spirit and swiftmovement it certainly gave that oratorical ef-fect to which he compared painting. It is viva-cious and with its facility creates the feelingof knowledge and mastery. That was somethingachieved at least. A surface by Chase usuallyshows that a skilled workman has left hismark upon it. His idea about quality in art was that it came:*As a result of perfect balance of all the partsand may be manifested in a color or tone orcomposition. In the greatest pictures it is foundin all three, and then you may be sure you arebefore the most consummate of human works.* The definition is not a good one, and he apolo- 7. 4
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Keywords: ., bookcentury1900, bookdecade1920, booksubjectamerica, bookyear1920
