. American painters: with eighty-three examples of their work engraved on wood . h m D ?> 0 ^ ?J I 0 y 0 « z I .- u. l»w . ARTLTUR QUART LEY. j son. He never even had a drawing-master. lie has no fixed method ofarranging his pigments on the palette, nor of painting it picture. He beginsanywhere on the canvas, sometimes with the foreground, sonic!inns with tin-horizon, sometimes with the sky at the zenith. His Close of a Stormj Day,in the Academy Exhibition of 1877, was painted in this wise : Having beenkept by a storm for three days in a house on the shore, he says, a( sunselthere was a glo
. American painters: with eighty-three examples of their work engraved on wood . h m D ?> 0 ^ ?J I 0 y 0 « z I .- u. l»w . ARTLTUR QUART LEY. j son. He never even had a drawing-master. lie has no fixed method ofarranging his pigments on the palette, nor of painting it picture. He beginsanywhere on the canvas, sometimes with the foreground, sonic!inns with tin-horizon, sometimes with the sky at the zenith. His Close of a Stormj Day,in the Academy Exhibition of 1877, was painted in this wise : Having beenkept by a storm for three days in a house on the shore, he says, a( sunselthere was a glorious break-up, and I went out to see it. It was too grand, tooawe-inspiring, too rapidly-changing, for me to attempt making a sketch of itthen. In the morning, after dreaming over the scene, I made a colored draw-ing of it — a delightful way of doing: your mind is not confused by thechanges that so swiftly succeed one another. After I hail begun to paint thepicture it seemed a total failure. For months it stood upon the easel. I trieda dozen times to get at it, but I could not reach the subtilty and true sig
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Keywords: ., bookcentury1800, bookdecade1870, booksubjectpainters, bookyear187
