DOI Heft:
Nr. 336 (May 1925)
DOI Artikel:Flint, Ralph: Bellows and his art
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.19985#0081
mueRnACionAL
'GRAMERCY PARK" Courtesy oj Mrs. George Bellows BY GEORGE BELLOWS
crowded palisade, sweltering summer on some fourteen years ago, a fresh landscape vision of
public beach or rare autumn shade in the hills and lively detail and handling, large and winning in its
mountains of his vacationing, he caught the full open sweep of park and river, palisade and sky;
flavor of each scene and season. His ready and and that sane relationship of man to nature
rapid sense of selection kept him always to the found in all of his work is fully exemplified here
point in his pictorial expeditions, and even in his in the human touches scattered through. The
most crowded compositions he maintained a universe to Bellows was a distinctly peopled affair,
coherent, rhythmic utterance that spoke of pene- and if the composition on hand did not call for any
tration and clear thinking. Bellows was never attendant mortal, he usually spied out some satis-
redundant, and he was never a bore. Only now factory note of dappled steed or mahogany cow,
and then, in some of his more ambitious studio of strutting cock or wheeling pigeon for accent
pictures, did he fail to keep the design and human and entertainment. Take his "Easter Snow,"
interest alert and pointed. another Palisades picture, as full of animation
It is perhaps impossible to hit upon any one and happy design as a Russian ballet, and as
group of canvases or drawings that will give a dramatic. All through this sunny, snowy scene—
complete impression of Bellows' accomplishments; church paraders gingerly picking their way along
and until his whole work is laid out for leisurely the shoveled paths and young New York sporting
inspection and assimilation there is no need for among the white reaches of parkway that slope
particular care in this direction. But for the to the cold river—he has worked that exhilarating
present it is pleasant to take the tone and tempo quality of touch and design that animates such
of some of his more important productions and to canvases as "Polo" and "Newport Tennis." This
dwell for a little upon a few of the many pictorial slice of life, like so many other records Bellows
pleasures that he has afforded us. There is, for made, is as real a document of period and place
instance, the finely harmonized "Up the Hudson" as any Currier and Ives plate of earlier days. He
at the Metropolitan Museum of Art, painted some was ever on the watch for something eventful and
MAY 1925
ighty-one
'GRAMERCY PARK" Courtesy oj Mrs. George Bellows BY GEORGE BELLOWS
crowded palisade, sweltering summer on some fourteen years ago, a fresh landscape vision of
public beach or rare autumn shade in the hills and lively detail and handling, large and winning in its
mountains of his vacationing, he caught the full open sweep of park and river, palisade and sky;
flavor of each scene and season. His ready and and that sane relationship of man to nature
rapid sense of selection kept him always to the found in all of his work is fully exemplified here
point in his pictorial expeditions, and even in his in the human touches scattered through. The
most crowded compositions he maintained a universe to Bellows was a distinctly peopled affair,
coherent, rhythmic utterance that spoke of pene- and if the composition on hand did not call for any
tration and clear thinking. Bellows was never attendant mortal, he usually spied out some satis-
redundant, and he was never a bore. Only now factory note of dappled steed or mahogany cow,
and then, in some of his more ambitious studio of strutting cock or wheeling pigeon for accent
pictures, did he fail to keep the design and human and entertainment. Take his "Easter Snow,"
interest alert and pointed. another Palisades picture, as full of animation
It is perhaps impossible to hit upon any one and happy design as a Russian ballet, and as
group of canvases or drawings that will give a dramatic. All through this sunny, snowy scene—
complete impression of Bellows' accomplishments; church paraders gingerly picking their way along
and until his whole work is laid out for leisurely the shoveled paths and young New York sporting
inspection and assimilation there is no need for among the white reaches of parkway that slope
particular care in this direction. But for the to the cold river—he has worked that exhilarating
present it is pleasant to take the tone and tempo quality of touch and design that animates such
of some of his more important productions and to canvases as "Polo" and "Newport Tennis." This
dwell for a little upon a few of the many pictorial slice of life, like so many other records Bellows
pleasures that he has afforded us. There is, for made, is as real a document of period and place
instance, the finely harmonized "Up the Hudson" as any Currier and Ives plate of earlier days. He
at the Metropolitan Museum of Art, painted some was ever on the watch for something eventful and
MAY 1925
ighty-one