. American painters: with eighty-three examples of their work engraved on wood . rious and persevering. In 1852 Mr. Hart returned from Scotland, and reopened his studio inAlbany. The next year he removed to New York City. Two years after-ward he was elected an Associate of the Academy, and three years subse-quently to this event became an Academician. He has been a member of theCouncil of that institution, and a President of the Brooklyn Art his presidency, he delivered a lecture entitled The Field and theEasel, which discussed the history and the future of American art in l
. American painters: with eighty-three examples of their work engraved on wood . rious and persevering. In 1852 Mr. Hart returned from Scotland, and reopened his studio inAlbany. The next year he removed to New York City. Two years after-ward he was elected an Associate of the Academy, and three years subse-quently to this event became an Academician. He has been a member of theCouncil of that institution, and a President of the Brooklyn Art his presidency, he delivered a lecture entitled The Field and theEasel, which discussed the history and the future of American art in land-scape. Like his brother, Mr. James M. Hart, he is fonder of home than ofclub life, and retiring in disposition ; at the same time, one is often in hispresence reminded of Jean Pauls fine saying, There is a certain noblepride through which merit shines brighter than through modesty. Mr. Harts landscapes present the sunny and peaceful aspects of Nature—the sylvan stream, the refulgent sunset, pleasant trees, honest cows, and lush, SOTBtti ?;1,,|,|Il» w tfjr ifJli HI: M. WILLI A M II A E T. 87 green grass. Like Mr. Inness, Mr. Whittredge, Mr. Hubbard, Mr. Bristol,Mr. Casilear, Mr. Sliattuck, and other American painters, he directs histhoughts and his brush with especial delight to the contemplation and rep-resentation of cheerfulness, brightness, warmth, and quietness, and, like themalso, he is attracted most strongly by the human element in lain I doubtless agrees cordial]) with the dictum of a London Spectator essayist,that a landscape destitute of the traces of mans hands does not take a strongand vital hold upon the heart of the seer; that pictures of wild and niggedAlpine scenery, for example, can never be particularly impressive. ()f course,he does not insist upon the introduction of figures of men, women, or chil-dren ; the human element is contained as truly in a tilled field or in a clearing;but this element he would always have present if the painting
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Keywords: ., bookcentury1800, bookdecade1870, booksubjectpainters, bookyear187
