DOI issue:
Nr. 332 (January 1925)
DOI article:Berry, Rose V. S.: A painter of California
DOI Page / Citation link:https://doi.org/10.11588/diglit.19984#0077
and a majestic beauty about them, and one can
no more sentimentalize over them than he could
over a mountain. They are the heroes of the land,
that have resisted the ocean's winds, which have
caressed them and beset them with the ferocity
of the hurricane, alternately, for centuries. Each
battle with the enemy-element has made them
more beautifully irregular, each splintered ampu-
tation has added a new and a dramatic severance
to the mass of lines toward which the painter
turns without weariness. As a subject matter,
they vary with each angle from which they are
seen. In one thing only are they invariable, each
and all of them proclaim the marvel of patient,
persistent, determined endurance.
Without the assistance of color, the reader can
detect the difference in the charm of "The Live
Oak." Rose has kept the picture to the softer
grayish-greens. Over it all he has allowed the
influence of the light blues to hover. The tree's
heavy tracery of spreading limbs is almost the
sole interest. But the artist has been a painter-
poet to permit so simple a statement entirely to
envelop his canvas, while he must trust that its
modest eloquence will make the compelling decla-
ration of beauty he with true artistic suppression
has chosen to make.
"Moonlight Carmel" is a painting combining
the infatuation of the moonlit sea with its subtle
opalescence and a strong contrasting pattern.
The whole is a statement which no one has made
in quite this manner, and gives a final evidence of
some of the splendid compositions of this painter,
who is too little known. Rose has painted some-
thing more than moonlight, earth, sea and sky,
here; he has reached out and upward into the
Unknown hy way of what may be seen. The
painter has used the glistening, pearl-tinted gray
of the sea and sky, with the shimmering sparkle
of the moon's direct lighting upon the water, to
convey the presence of a tantalizing mystery, per-
mitting only a ghost-like solution that will vanish
forever with the smallest intervening shadow.
The darkened pattern of the overarching, inter-
lacing cypress trees might be a spectral, circling
wedding-ring, binding the earth and sea and sky
into a peaceful, nocturnal trinity of more than
earthly holiness.
JANUARY 1925
three thirty-seven
no more sentimentalize over them than he could
over a mountain. They are the heroes of the land,
that have resisted the ocean's winds, which have
caressed them and beset them with the ferocity
of the hurricane, alternately, for centuries. Each
battle with the enemy-element has made them
more beautifully irregular, each splintered ampu-
tation has added a new and a dramatic severance
to the mass of lines toward which the painter
turns without weariness. As a subject matter,
they vary with each angle from which they are
seen. In one thing only are they invariable, each
and all of them proclaim the marvel of patient,
persistent, determined endurance.
Without the assistance of color, the reader can
detect the difference in the charm of "The Live
Oak." Rose has kept the picture to the softer
grayish-greens. Over it all he has allowed the
influence of the light blues to hover. The tree's
heavy tracery of spreading limbs is almost the
sole interest. But the artist has been a painter-
poet to permit so simple a statement entirely to
envelop his canvas, while he must trust that its
modest eloquence will make the compelling decla-
ration of beauty he with true artistic suppression
has chosen to make.
"Moonlight Carmel" is a painting combining
the infatuation of the moonlit sea with its subtle
opalescence and a strong contrasting pattern.
The whole is a statement which no one has made
in quite this manner, and gives a final evidence of
some of the splendid compositions of this painter,
who is too little known. Rose has painted some-
thing more than moonlight, earth, sea and sky,
here; he has reached out and upward into the
Unknown hy way of what may be seen. The
painter has used the glistening, pearl-tinted gray
of the sea and sky, with the shimmering sparkle
of the moon's direct lighting upon the water, to
convey the presence of a tantalizing mystery, per-
mitting only a ghost-like solution that will vanish
forever with the smallest intervening shadow.
The darkened pattern of the overarching, inter-
lacing cypress trees might be a spectral, circling
wedding-ring, binding the earth and sea and sky
into a peaceful, nocturnal trinity of more than
earthly holiness.
JANUARY 1925
three thirty-seven