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Universitätsbibliothek HeidelbergUniversitätsbibliothek Heidelberg
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International studio — 59.1916

DOI Heft:
Nr. 233 (July, 1916)
DOI Artikel:
de B. Nelson, W. H.: Sincerity in art: Hamilton Easter Field
DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.43462#0028

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Sincerity in Art: Hamilton Easter Field


A CORNER OF THE STUDIO AT COLUMBIA HEIGHTS, BROOKLYN, N. Y.

SINCERITY IN ART: HAMILTON
EASTER FIELD
BY W. H. de B. NELSON
When Hamilton Easter Field, a
Brooklyn lad, followed vogue and went to Paris
to study art, Cafe Guerbois and “Chez Nadar”
had become traditions. Impressionism though
bleeding from its many wounds encountered be-
tween 1870 and 1890 was very much alive, and
beginning even to prosper. This was in 1894.
Monets had ceased to sell at 100 francs apiece,
and the rotten eggs of a prejudiced public were
no longer aimed at the devoted band of artists
whose reputation to-day stands so pre-eminently
high. The time was opportune.
After two years of self-communing and develop-
ment Field threw himself heart and soul, palette
and brushes, into the Impressionist school, espe-
cially worshipping at the shrines of Degas and
Fantin-Latour. His admiration did not confine
itself to these two masters but extended to Cour-
bet, Renoir and Cezanne. Travel and study in
Italy further increased his stock of heroes and

moulded his mind. The old masters of the Renais-
sance gave him an insatiable appetite for study-
ing the different methods then in use; the sup-
ports or bases underlying the pigments; the actual
pigments fiom the point of view of stability; de-


WATERFRONT

BY HAMILTON EASTER FIELD

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