DOI issue:
Nr. 107 (January, 1906)
DOI article:Ruge, Clara: The Tonal school of America
DOI Page / Citation link: https://doi.org/10.11588/diglit.26961#0378
The Tonal School
BLACK HEAD ’MONHEGAN BY PAUL DOUGHERTY
Ranger’s influence most. Though he has never
accepted pupils and has always insisted on the duty
of originality, no other artist of this time has had
more influence on the younger generation. It
should be noted, however, that the renown of the
new Fontainbleau in Connecticut has been con-
fused by the access of many imitators and art
classes. Ranger, who made the reputation of the
place, no longer spends his entire summer there,
and what may be called the School of Lyme is
to-clay no longer altogether identical with the Tonal
School.
Louis Paul Dessar has been for years closely in
touch with Ranger, his master and friend, and with
him first brought Lyme into remark. He has,
however, preserved his own individuality. He is
foncl of the atmospheric effects of sunset and moon-
rise, and offen finds an aid to his composition in his
interest in animal life.
Gifford Beal excels in warmly-coloured effects of
meadows and marshes. His younger brother,
Reynolds Beal, formerly a marine engineer, prefers
the opportun ities in the play of light afforded by
hulls and sails on the water.
A versatile young artist who has never settled in
Lyme, though one of the strongest men of the Tonal
School, is F. Ballard Williams. He is the only fol-
lower of Füller, the early figure painter mentioned
above as one of the originators of the school. Last
summer he visited Europe and has brought home
some interesting landscapes with English motives.
Paul Dougherty may be ranked as the foremost
marine painter of the younger generation. He
began with a dark colour scheine, showing plainly
the stamp of the school, but now, with clearer
colours, he is exhibiting a more individual and
direct manner. His expression is full of vitality
and unspoiled vigour.
Albert L. Groll is the musical dreamer in
colours. To his former colour symphonies of the
Eastern woods and seas he has lately added the
great chords of the Western wilderness, in the
studies that he has just brought from the South-
west.
Another newcomer to the Tonal School is M.
Evergood Blashki, an English Australian, lately
settled in New York. His technique is bold and
masterly. Paul King paints landscapes of decided
Tonal qualities, but he belongs on the whole to a
groupwhose methods lean partlyin other directions.
Many other Tonal painters would be worth men-
tioning. I have tried to speak of the few who
embody new notes in painting in their personal
manner of expression, and are still united by one
aim, the Tonal qualities of their genuine American
art.
LXVI
BLACK HEAD ’MONHEGAN BY PAUL DOUGHERTY
Ranger’s influence most. Though he has never
accepted pupils and has always insisted on the duty
of originality, no other artist of this time has had
more influence on the younger generation. It
should be noted, however, that the renown of the
new Fontainbleau in Connecticut has been con-
fused by the access of many imitators and art
classes. Ranger, who made the reputation of the
place, no longer spends his entire summer there,
and what may be called the School of Lyme is
to-clay no longer altogether identical with the Tonal
School.
Louis Paul Dessar has been for years closely in
touch with Ranger, his master and friend, and with
him first brought Lyme into remark. He has,
however, preserved his own individuality. He is
foncl of the atmospheric effects of sunset and moon-
rise, and offen finds an aid to his composition in his
interest in animal life.
Gifford Beal excels in warmly-coloured effects of
meadows and marshes. His younger brother,
Reynolds Beal, formerly a marine engineer, prefers
the opportun ities in the play of light afforded by
hulls and sails on the water.
A versatile young artist who has never settled in
Lyme, though one of the strongest men of the Tonal
School, is F. Ballard Williams. He is the only fol-
lower of Füller, the early figure painter mentioned
above as one of the originators of the school. Last
summer he visited Europe and has brought home
some interesting landscapes with English motives.
Paul Dougherty may be ranked as the foremost
marine painter of the younger generation. He
began with a dark colour scheine, showing plainly
the stamp of the school, but now, with clearer
colours, he is exhibiting a more individual and
direct manner. His expression is full of vitality
and unspoiled vigour.
Albert L. Groll is the musical dreamer in
colours. To his former colour symphonies of the
Eastern woods and seas he has lately added the
great chords of the Western wilderness, in the
studies that he has just brought from the South-
west.
Another newcomer to the Tonal School is M.
Evergood Blashki, an English Australian, lately
settled in New York. His technique is bold and
masterly. Paul King paints landscapes of decided
Tonal qualities, but he belongs on the whole to a
groupwhose methods lean partlyin other directions.
Many other Tonal painters would be worth men-
tioning. I have tried to speak of the few who
embody new notes in painting in their personal
manner of expression, and are still united by one
aim, the Tonal qualities of their genuine American
art.
LXVI