DOI Heft:
No. 93 (December, 1900)
DOI Artikel:Knaufft, Ernest: An American painter, William M. Chase
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.19786#0178
W. M. Chase
portrait painters, and the
number of celebrities he
has painted makes a long
catalogue; a partial list
includes William M. Evarts,
General Webb, and the
violinist, Reminyi. One of
the most monumental of
Mr. Chase's portraits, one
whose composition and
simplicity seems to pro-
claim it an examplar for the
younger portrait painters, is
his Portrait of Mrs. C. or
The Lady with a White
Shawl, owned by the Penn-
sylvania Academy of Fine
Arts, and recently hung
in a place of honour
in the American section
of the Paris Exhibition.
When Mr. Chase lived
in New York and in
Brooklyn he showed the
art students of the two
citieswhat excellent subject-
matter lay at their very
doors in the landscape of
the public parks—Central
Park in New York and
Prospect Park in Brooklyn.
He has since moved
to Shinnecock, at the end study of a boy's head by w. m. chase
of Long Island that juts
into the Atlantic Ocean
and basks like Holland under an everchanging sky; Autumn, with russet, maroon and bronze—the
it is, indeed, Holland without its windmills, its better tor a touch of frost—and recompensed for
canals, fences and villages, a monotonous lowland, their summer sterility by the wild aster and the
broken here and there by sand dunes and dwarfed golden rod.
bushes. It is not such a picturesque country as Sometimes the dress of terra firma plays but a
the English sea coast that Turner loved and com- slight part in his picture's arrangement, and the
memorated ; it is more like the Mousehold Heath major part of the canvas is given up to the sky,
that Old Chrome so lovingly invested with where the clouds, as if in martial manoeuvres, gather
picturesqueness, though less undulating; and just into columns and varied combinations, advancing
as Chrome found the heath assuming an endless and receding on a field of cloth of azure,
variety of aspects under the transient shadows of Indeed, Mr. Chase—who teaches his pupils
cumulus clouds, so Mr. Chase discovers infinite that it is not what thing is painted, but the
changeableness in his Long Island home, as the way it is painted that makes the work of art—
clouds that roll up from the Atlantic gridiron the has always been content with this, what the
Shinnecock meadows with shadows that accentuate Philistines would call unpicturesque country,
distances and carry the eye seemingly over im- A single windmill gives quaintness to a corner
measurable expanse ; or as the meadows lie blinking of his demesne, but Mr. Chase rarely intro-
in the midsummer heat with cooling blue waters at duces it into his compositions. He uses no
their margins, or when they are rich with tints of artificial adjuncts for his effects, but paints, as did
156
portrait painters, and the
number of celebrities he
has painted makes a long
catalogue; a partial list
includes William M. Evarts,
General Webb, and the
violinist, Reminyi. One of
the most monumental of
Mr. Chase's portraits, one
whose composition and
simplicity seems to pro-
claim it an examplar for the
younger portrait painters, is
his Portrait of Mrs. C. or
The Lady with a White
Shawl, owned by the Penn-
sylvania Academy of Fine
Arts, and recently hung
in a place of honour
in the American section
of the Paris Exhibition.
When Mr. Chase lived
in New York and in
Brooklyn he showed the
art students of the two
citieswhat excellent subject-
matter lay at their very
doors in the landscape of
the public parks—Central
Park in New York and
Prospect Park in Brooklyn.
He has since moved
to Shinnecock, at the end study of a boy's head by w. m. chase
of Long Island that juts
into the Atlantic Ocean
and basks like Holland under an everchanging sky; Autumn, with russet, maroon and bronze—the
it is, indeed, Holland without its windmills, its better tor a touch of frost—and recompensed for
canals, fences and villages, a monotonous lowland, their summer sterility by the wild aster and the
broken here and there by sand dunes and dwarfed golden rod.
bushes. It is not such a picturesque country as Sometimes the dress of terra firma plays but a
the English sea coast that Turner loved and com- slight part in his picture's arrangement, and the
memorated ; it is more like the Mousehold Heath major part of the canvas is given up to the sky,
that Old Chrome so lovingly invested with where the clouds, as if in martial manoeuvres, gather
picturesqueness, though less undulating; and just into columns and varied combinations, advancing
as Chrome found the heath assuming an endless and receding on a field of cloth of azure,
variety of aspects under the transient shadows of Indeed, Mr. Chase—who teaches his pupils
cumulus clouds, so Mr. Chase discovers infinite that it is not what thing is painted, but the
changeableness in his Long Island home, as the way it is painted that makes the work of art—
clouds that roll up from the Atlantic gridiron the has always been content with this, what the
Shinnecock meadows with shadows that accentuate Philistines would call unpicturesque country,
distances and carry the eye seemingly over im- A single windmill gives quaintness to a corner
measurable expanse ; or as the meadows lie blinking of his demesne, but Mr. Chase rarely intro-
in the midsummer heat with cooling blue waters at duces it into his compositions. He uses no
their margins, or when they are rich with tints of artificial adjuncts for his effects, but paints, as did
156