mceRHACionAL
THE LAST RAY Courtesy of R. C. Vose BY W. KOENIGER
KOENIGER, "PAINTER of SNOW
L
andscape painting as An artist who has dedicated Claude Lorraine, Caspar
a separate art was first fag Hfe f0 fne depiction of Dughet, Jan van Goyen,
practised in the latter the American Landscape in s°Iomo" ™n ^d*d, and
part ot the sixteenth cen- • , a host 01 others bestowed an
tury. An exception to this Winter monttlS equal amount of care upon
rule are the number of land- Q FRANK MULl^ER both their landscapes and
scapes unearthed from the the figures which they
ruins of Pompeii. These show a genuine attempt thought necessary to round out and complete
on the part of the artist to reproduce the moods their pictures, one serving as a complement to the
of nature. The desire to depict the manifold and other. Jacob Ruysdael was one of the first to
ever-varying beauties of field, forest, mountain, paint nature unadorned. Nevertheless, many of
stream and valley did not again manifest itself the artists up to the time of Richard Wilson and
until the time of Giotto and his followers: Leon- Thomas Gainsborough were more botanists than
ardo da Vinci, Pietro Perugino, Raphael Santi, anything else, for it was their custom to endeavor
Giorgone, Titian, Joachim de Patinir, the Breu- to delineate every blade of grass and each leaf of
ghels, Adam Elsheimer and Nicolas Poussin, all of foliage with the extreme of painstaking minute-
whom, however, used landscape as a setting for ness. It remained for Constable to portray nature
historical and biblical subjects. Then Paul Brill, "without fal-de-ral or fiddle-de-dee," to use his
l wo
hundred ten
JUNE 1925
THE LAST RAY Courtesy of R. C. Vose BY W. KOENIGER
KOENIGER, "PAINTER of SNOW
L
andscape painting as An artist who has dedicated Claude Lorraine, Caspar
a separate art was first fag Hfe f0 fne depiction of Dughet, Jan van Goyen,
practised in the latter the American Landscape in s°Iomo" ™n ^d*d, and
part ot the sixteenth cen- • , a host 01 others bestowed an
tury. An exception to this Winter monttlS equal amount of care upon
rule are the number of land- Q FRANK MULl^ER both their landscapes and
scapes unearthed from the the figures which they
ruins of Pompeii. These show a genuine attempt thought necessary to round out and complete
on the part of the artist to reproduce the moods their pictures, one serving as a complement to the
of nature. The desire to depict the manifold and other. Jacob Ruysdael was one of the first to
ever-varying beauties of field, forest, mountain, paint nature unadorned. Nevertheless, many of
stream and valley did not again manifest itself the artists up to the time of Richard Wilson and
until the time of Giotto and his followers: Leon- Thomas Gainsborough were more botanists than
ardo da Vinci, Pietro Perugino, Raphael Santi, anything else, for it was their custom to endeavor
Giorgone, Titian, Joachim de Patinir, the Breu- to delineate every blade of grass and each leaf of
ghels, Adam Elsheimer and Nicolas Poussin, all of foliage with the extreme of painstaking minute-
whom, however, used landscape as a setting for ness. It remained for Constable to portray nature
historical and biblical subjects. Then Paul Brill, "without fal-de-ral or fiddle-de-dee," to use his
l wo
hundred ten
JUNE 1925