DOI Heft:
No. 175 (October, 1907)
DOI Artikel:Atkins, Henry: William Keith, landscape painter, of California
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.20776#0063
William Keith of California
"andante" (In the possession of Miss Lena Blanding) |by william keith
Among the examples of his work that have from pool or flowing stream. The suggestion of
crossed the Atlantic are those belonging to " the human interest" by skilfully placed landscape,
Mr. Stopford Brooke, and the large Sunset among painters' figures of lonely shepherds, or groups of
the Oaks, now in the Frankfort Gallery, presented children playing in the woodland shadows, is
by Mr. Jacob Schiff, who in his private collection hardly needed, for on his canvas the most lonely
in New York owns several other canvases. Here and withdrawn places seem to hint at some hidden
also Mr. Keith's paintings may be seen in the presence, some occupation of personality, felt
galleries of Mr. E. H. Harriman, Senator Clarke, rather than seen.
Mr. Francis Burton Harrison, the late Collis P. It is evident that his adopted country has had
Huntington, Mr. McKim and Mr. D. H. Burnham, its share of influence upon the far-brought germ of
in the Art Museum of Chicago and Brooklyn, and art in William Keith. The echoes of tradition were
in the Corcoran Gallery at Washington. Occa- sweet but dim in his ears, and around him were
sionally he produces a canvas treated alprimo in a calling the voices of a new age—around him lay an
high, clear key, such as the mountain composition untrodden region of beauty, to which vibrated all
The Crown of the Sierras, a reproduction of which the chords of romance, and which stirred the deep
is given here, but his favourite palette is a low rich and still waters of the Scottish heritage of imagina-
chord of greens and browns, with rose and amber tion. Even as the deciduous avenues of Fontaine-
notes and glazes. A generic title for the most bleau imparted a melancholy sweetness to the
typical of his compositions might be A Wooded canvases of 1830, and the grey coasts and filtered
Landscape. Richly modelled masses of foliage, sunlight of Scotland temper the low harmonies of
oak, madrona or eucalyptus, serve to throw into the Glasgow palette, so in Keith's work we recog-
distance some clear sky stained with the hues of nise the influence of that very close and familiar
dawn or sunset, and reflected in the foreground spirit of nature in the West—young, romantic, and
41
"andante" (In the possession of Miss Lena Blanding) |by william keith
Among the examples of his work that have from pool or flowing stream. The suggestion of
crossed the Atlantic are those belonging to " the human interest" by skilfully placed landscape,
Mr. Stopford Brooke, and the large Sunset among painters' figures of lonely shepherds, or groups of
the Oaks, now in the Frankfort Gallery, presented children playing in the woodland shadows, is
by Mr. Jacob Schiff, who in his private collection hardly needed, for on his canvas the most lonely
in New York owns several other canvases. Here and withdrawn places seem to hint at some hidden
also Mr. Keith's paintings may be seen in the presence, some occupation of personality, felt
galleries of Mr. E. H. Harriman, Senator Clarke, rather than seen.
Mr. Francis Burton Harrison, the late Collis P. It is evident that his adopted country has had
Huntington, Mr. McKim and Mr. D. H. Burnham, its share of influence upon the far-brought germ of
in the Art Museum of Chicago and Brooklyn, and art in William Keith. The echoes of tradition were
in the Corcoran Gallery at Washington. Occa- sweet but dim in his ears, and around him were
sionally he produces a canvas treated alprimo in a calling the voices of a new age—around him lay an
high, clear key, such as the mountain composition untrodden region of beauty, to which vibrated all
The Crown of the Sierras, a reproduction of which the chords of romance, and which stirred the deep
is given here, but his favourite palette is a low rich and still waters of the Scottish heritage of imagina-
chord of greens and browns, with rose and amber tion. Even as the deciduous avenues of Fontaine-
notes and glazes. A generic title for the most bleau imparted a melancholy sweetness to the
typical of his compositions might be A Wooded canvases of 1830, and the grey coasts and filtered
Landscape. Richly modelled masses of foliage, sunlight of Scotland temper the low harmonies of
oak, madrona or eucalyptus, serve to throw into the Glasgow palette, so in Keith's work we recog-
distance some clear sky stained with the hues of nise the influence of that very close and familiar
dawn or sunset, and reflected in the foreground spirit of nature in the West—young, romantic, and
41