DOI Heft:
Nr. 229 (March 1916)
DOI Artikel:Pennsylvania, 111
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.43461#0011
Pennsylvania, hi
ON THE VALLEY
BY" JOHN T. PEARSON, JR.
story would seem to be that of a young couple
honeymooning in some picturesque old cottage
in Brittany. The man seated at a round table
with light refreshments appears to be having
an altercation with Madam reclining comfortably
in a hammock and exposing only a portion of her
face as she turns her head round to meet the
argument. The subject is of no importance,
however, the painting is everything. If Mr.
Chase had never painted any other picture this
one alone would place him on the highest plane of
American painting. The exquisite mastery of
the entire situation, the complete harmony,
quality of the colour, the unity—everything
combines to label it a great performance. You
seem to see a composite giant at work, a Tissot-
Stevens-Whistler-Chase all in a brush-stroke.
Anywhere within the frame a vandal could hack
out some canvas and it would be a bit of beauti-
ful paint. Of such is the kingdom of art.
Quite a number of strong marines are interest-
ing evidence of the different attitudes assumed by
our artists who paint the sea. Paul Dougherty,
in Sunlight and Surf, is concerned with the
elemental relationship between sea, sky and rocks
and has welded them into perfect agreement
with consummate artistry and a restrained palette.
Emil Carlsen sees nothing of the elemental; to
him the ocean and rocks are distinct issues
replete with a particular vein of poetry that
exists equally in a Canton jug or an Amati
violin. Hence his marines are lyrical but life-
less.
W. Ritschell is concerned with the big design
primarily, moods, movement and colour being
subordinate to the pattern. His Pacific Coast
studies have resulted in many fine canvases
which are gradually occupying museum space.
Frederick J. Waugh is using intimate knowledge
of the sea to depict violent scenes, the drama of
the ocean, with almost brutal frankness. The
pretty and somewhat commercial character of
many of his older efforts has undergone a complete
change.
VII
ON THE VALLEY
BY" JOHN T. PEARSON, JR.
story would seem to be that of a young couple
honeymooning in some picturesque old cottage
in Brittany. The man seated at a round table
with light refreshments appears to be having
an altercation with Madam reclining comfortably
in a hammock and exposing only a portion of her
face as she turns her head round to meet the
argument. The subject is of no importance,
however, the painting is everything. If Mr.
Chase had never painted any other picture this
one alone would place him on the highest plane of
American painting. The exquisite mastery of
the entire situation, the complete harmony,
quality of the colour, the unity—everything
combines to label it a great performance. You
seem to see a composite giant at work, a Tissot-
Stevens-Whistler-Chase all in a brush-stroke.
Anywhere within the frame a vandal could hack
out some canvas and it would be a bit of beauti-
ful paint. Of such is the kingdom of art.
Quite a number of strong marines are interest-
ing evidence of the different attitudes assumed by
our artists who paint the sea. Paul Dougherty,
in Sunlight and Surf, is concerned with the
elemental relationship between sea, sky and rocks
and has welded them into perfect agreement
with consummate artistry and a restrained palette.
Emil Carlsen sees nothing of the elemental; to
him the ocean and rocks are distinct issues
replete with a particular vein of poetry that
exists equally in a Canton jug or an Amati
violin. Hence his marines are lyrical but life-
less.
W. Ritschell is concerned with the big design
primarily, moods, movement and colour being
subordinate to the pattern. His Pacific Coast
studies have resulted in many fine canvases
which are gradually occupying museum space.
Frederick J. Waugh is using intimate knowledge
of the sea to depict violent scenes, the drama of
the ocean, with almost brutal frankness. The
pretty and somewhat commercial character of
many of his older efforts has undergone a complete
change.
VII