,the ,mentor1 ,no4 #bf1 ,american ,landscape ,painters ,,the ,,mentor 8,a ,wise and ,faithful ,guide and ,friend0 ,vol4 #a ,no4 #bf ,,american ,,landscape ,,painters ,,george ,,inness ,,homer ,,martin ,a4 ,h4 ,,wyant ,,thomas ,,moran ,d4 ,w4 ,,tryon ,f4 ,e4 ,,church ,illustration3 ,american ,art ,annual ,by ,,samuel ,,isham ,the beginnings of art in ,america were confined almost exclusively to portrait painting4 ,in the earliest colonial times unskilled limners came from the mother country and made grotesque effigies of our statesmen and divines4 ,as the settlements developed and the amenities of life increased better men came1 and native painters were found1 until about the end of the eighteenth century a portrait school of surprising merit arose1 founded on the contemporary ,english school1 and developed men like ,copley1 ,stuart1 and ,sully4 ,the other branches of painting1 however1--history1 allegory1 genre1 still life1 landscape1 and the rest1--were rarely attempted1 and usually with unsatisfactory results4 ,probably no artist devoted himself entirely to landscape until #ahbj1 when ,thomas ,doughty1 who was already twenty-seven years old1 gave up his leather trade and took to painting ,american views in delicate gray and violet tones1 with small encouragement from his contemporaries4 ,,thomas ,,cole1 ,,the ,,idealist ,illustration3 ,metropolitan ,museum of ,art ,,the ,,valley ,,of ,,van ,,cluse1 ,,by ,,thomas ,,cole ,soon after came ,thomas ,cole1 the real founder of the school1 who emigrated to ,america with his father's family when he was nineteen4 ,he was a sensitive1 delicate youth1 who suffered much in his wanderings while trying to support himself1 at first by his trade of wood engraving1 but most of all after the chance meeting with an itinerant portrait painter led him to take up art4 ,it was not until he came to ,new ,york in #ahbe that his merits were recognized and his difficulties ceased4 ,some small canvases that he exhibited were quickly bought1 and from this time until his death his popularity steadily increased4 ,the quality of ,cole's work owes much to his own character1 and perhaps also to his early ,english bringing up4 ,he was an idealist rather than a realist4 ,he cared less to reproduce the beauties of the nature around him than to awaken high1 moral thoughts4 ,it was not for the pleasure of the eye1 but to suggest profitable musings on the grandeur and decline of nations1 the transitoriness of life1 the rewards of virtue after death1 that he painted the 8,course of ,empire10 the 8,voyage of ,life10 and the rest4 ,he was the founder of a romantic school1 which may be traced even down to the present day4 ,the succeeding artists did not indeed paint allegories2 but they put the main interest of their pictures in the strangeness or beauty of their subject1 rather than in rendering ordinary scenes with personal feeling4 ,,church1 ,,painter ,,of ,,noble ,,scenery ,illustration3 ,metropolitan ,museum of ,art ,,the ,,gean ,,sea1 ,,by ,f4 ,e4 ,,church ,the best known of these followers was ,f4 ,e4 ,church1 who was a pupil of ,cole--and the only pupil that he could properly be said to have had2 for ,church lived and studied in his house for years4 ,while he showed no desire to imitate the mystic subjects of his master1 ,church cared little for the common world immediately around him4 ,he seems to have thought that the nobler the subject the nobler the picture1 and he ransacked the whole earth for its beautiful1 strange1 or impressive scenes4 ,the luxurious vegetation of the tropics1 the isles of the gean ,sea1 the ,parthenon1 icebergs1 volcanos1--he painted them all1 set off by sunset1 clouds1 thunderstorms1 rainbows1 or whatever else would enhance their beauty1 and he painted them well4 ,he was the best artist of his school2 much better than ,cole1 whose careful studies of real scenes are often well done1 but whose workmanship degenerated rapidly when1 leaving nature1 he entered into the realm of pure imagination4 ,the succeeding men who took ,church's viewpoint and sought subjects for their exceptional beauty or majesty had an additional impulse given to their imagination by the discovery of such subjects in their own country4 ,church painted no important picture of his own land2 but when exploring parties began to enter the great ,west they were accompanied by artists eager to set down marvels no less striking than those of the tropics or of ,europe4 ,,albert ,,bierstadt ,illustration3 ,metropolitan ,museum of ,art ,,the ,,rocky ,,mountains1 ,,by ,,albert ,,bierstadt ,illustration3 ,,albert ,,bierstadt ,the foremost of these artists was ,albert ,bierstadt1 who gave to the public its first impressions of the vastness of the ,rockies and all their strange fauna1 the buffalo1 the big trees1 and the rest4 ,the public1 both educated and uneducated1 enjoyed and admired the pictures which offered it a new impression of the grandeur of its country and flattered the somewhat uncouth but real pride of the time4 ,other men besides ,bierstadt accompanied the explorers of the ,west1--,whittredge1 ,wyant1 ,samuel ,colman1 and others1--but though they painted the plains and the ,rockies they soon deserted them for other subjects4 ,one man1 however1 now a veteran of his profession1 has remained faithful to his early ideals4 ,,thomas ,,moran ,illustration3 ,,lake ,,of ,,the ,,woods1 ,,by ,,thomas ,,moran ,illustration3 ,,thomas ,,moran ,thomas ,moran1 who was one of three brothers1 all distinguished in art1 came with them to this country from ,england in #ahdd1 when he was seven years old4 ,he continues to our day the traditions of ,church2 not directly1 for his training came from an entirely different source1 but by his natural preference for ,nature in her more striking and impressive forms4 ,a trip to the ,yellowstone as early as #ahga furnished him with a series of subjects peculiarly his own2 but1 while he has always found matter for his brush in the marvels of the great ,west1 he has added to them many of the most beautiful scenes of ,great ,britain1 ,switzerland1 ,venice1 and the ,orient1 rendering them all with a sure facility and brilliance that make his canvases recognizable at a glance4 ,in contrast to these men1 who sought to give interest and dignity to their work by choosing imaginative or strange1 far-sought subjects1 may be placed those whose interest was rather in the familiar native landscape that lay about them1 who found in it beauty sufficient for their needs if only they could fully express the emotions with which it inspired them4 ,the two schools are anything but rigidly separated4 ,the idealists made careful studies from nature1 and the realists attempted excursions into allegory or scenic beauty2 but the fundamental difference of the point of view is sufficiently marked4 ,the two founders of our landscape schools are typical examples of the two temperaments4 ,thomas ,cole1 born abroad1 with much of the sentimentality of ,europe of that time1 was a dreamer1 sensitive1 shy1 living in his visions4 ,,the ,,truth ,,and ,,feeling ,,of ,,durand',s ,,art ,illustration3 ,,asher ,b4 ,,durand ,asher ,b4 ,durand1 on the contrary1 was of sturdy ,huguenot stock1 one of the many children of a farmer who cultivated his land on ,orange ,mountain1 but whose ingenuity made him also a watchmaker1 silversmith1 and skilled mechanic generally4 ,his son1 after some boyish efforts at engraving1 was apprenticed to that trade1 and rapidly became by far the best engraver in the country1 both prosperous and skilful4 ,his masterpiece is the 8,declaration of ,independence10 which holds its own today as a most creditable production4 ,he was still an engraver when ,cole came to ,new ,york1 and was one of the first to encourage him and buy his pictures4 ,at this time ,durand1 though an older man by some five years than ,cole1 had not yet begun to paint4 ,when he did some ten years later1 in #ahce1 his first productions were portrait heads admirable in their delicate draftsmanship and sure1 fine characterization2 but he soon abandoned these for landscape1 and for the latter part of his long life devoted himself entirely to it4 ,illustration3 ,,in ,,the ,,woods1 ,,by ,,asher ,b4 ,,durand ,durand's landscapes1 like his portraits1 showed his training as an engraver in their accurate and minute drawing4 ,contrary to the general practice of the time1 he painted many of his large canvases out of doors in face of nature4 ,his love for nature1 combined with his training as an engraver1 probably accounts for his almost invariable choice of full midsummer daylight for his pictures1 when vegetation was at its fullest and all its details could be minutely seen4 ,yet1 for all his love of detail1 he does not lose unity1 and the color is true to the soft1 warm haze of summer1 and the shadows keep their local atmosphere4 ,illustration3 ,metropolitan ,museum of ,art ,a ,,glimpse ,,of ,,the ,,sea1 ,,by ,a4 ,h4 ,,wyant ,,the ,,hudson ,,river ,,school ,durand's landscapes were popular1 and there grew up about him a school of painters treating nature much as he did4 ,they loved the country that they visited in their summer excursions1 and like him they painted ,lake ,george1 the ,white ,mountains1 the ,hudson1 and so there grew up what has been called the ,hudson ,river ,school4 ,durand was old when he began painting1 and his followers were of a younger generation4 ,kensett was probably the best of them4 ,he worked less from nature than ,durand2 his detail has none of ,durand's tranquil thoroughness1 and his shadows are apt to be rendered by a facile generalization of brown4 ,however1 he made a decided advance over the older master in representing all aspects of nature1 all seasons and all times of day1 with a special leaning toward sunsets4 ,illustration3 ,a4 ,h4 ,,wyant ,of the others of the school there is space to recall only a few names at random1--,whittredge1 ,mc,entee1 ,bristol1 ,sandford ,r4 ,gifford1 ,cropsey1 and the rest4 ,they were mostly sincere1 hard-working painters1 and very charming1 worthy men personally4 ,they won for themselves a social position in the old ,new ,york of the '#fj's and '#gj's greater and more important than any other artistic group has enjoyed in this country4 ,their paintings were also admired and bought for handsome prices1 and as a whole they were prosperous4 ,time has dealt rather hardly with their fame4 ,though all of the men whose names have just been cited left works that may still be seen with pleasure1 yet as a rule the pictures of the school were thin1 laborious1 and timid4 ,there was no rich1 strong handling of the pigment1 no decorative quality to the composition1 no massing of light and shade1 and no revelation of individual temperament and emotion4 ,,wyant1 ,,martin1 ,,and ,,inness ,approaches to these qualities were occasionally made2 but to find them the general rule we must go to the men who are now conceded to be the culminating masters of the school1--,wyant1 ,homer ,martin1 and ,inness4 ,illustration3 ,,homer ,d4 ,,martin ,of these ,wyant holds closest to the traditions of the school4 ,he had a larger sense of composition1 a completer mastery of technic1 a freer handling1 and a finer draftsmanship4 ,he represented with infinite refinement the heaped up summer clouds and the smooth1 delicate tree trunk beyond which the widespread landscape was seen2 but on the whole it was only a culmination of the qualities of the school and awoke no opposition4 ,with ,martin and ,inness it was different4 ,they succeeded in giving to their landscapes a deeper note of personal emotion and feeling than any of their predecessors4 ,both were men of exceptional spiritual and mental endowment4 ,their characters were formed not in a conventional model imposed by their surroundings1 but by much solitary meditation4 ,both had begun by painting in the general style of the ,hudson ,river ,school1 and both found the result unsatisfactory4 ,martin's desertion of the old traditions consisted largely in a change of workmanship4 ,instead of the thin1 smooth coating of pigment general at the time1 which he himself had practised in the beginning1 he used a thick impasto1 laid on with a heavily loaded brush or even the palette knife4 ,the color1 too1 was not used in unbroken tones1 but drawn and blended together in streaks and spots1 which gave it quiver and vitality4 ,apart from the method of painting1 the manner changed also4 ,detail1 so admired by the public of the day1 was more and more simplified4 ,the composition resolved itself into a few strong masses of light and dark1 the relations between which became more and more balanced and subtle as the little incidents disappeared4 ,his pictures in this latter manner are not very numerous1 for he could not paint when he was not in the mood2 but the best of them make a profound impression by their strong simplicity4 ,,the ,,art ,,of ,,inness ,illustration3 ,,september ,,afternoon1 ,,by ,,george ,,inness ,illustration3 ,,george ,,inness ,inness was a much more prolific painter1 and his work shows greater variety4 ,he early felt the monotony of the old school1 its lack of certain qualities that he found in engravings of ,european landscapes1 and he used to take the prints with him when he went sketching1 to try to discover wherein their merit consisted4 ,he studied nature continually1 living with it1 so that at last he knew its moods and methods by heart4 ,toward the end of his life he painted much from memory4 ,a landscape painting1 perhaps originally sketched from nature1 would change under his brush much as the scene itself might under changing lights or varying seasons4 ,the sky filled with clouds1 then cleared again1 the sunlight spotted the grass or the shadows stretched across it1 while the trees turned from the green of summer to the russet of autumn4 ,naturally work of this later period1 much of it left unfinished1 is very unequal in merit2 but at its best it marks his highest achievement rather than the more carefully planned productions of his middle life4 ,it is more vital and more subtle2 but all of ,inness's work except his very earliest reflects the inner nature of the man4 ,it has none of the dignified melancholy of ,martin1 which has also at times its note of revolt4 ,inness is never trivial3 he keeps his seriousness2 but he is never sad4 ,nature is to him always beautiful1 always kindly4 ,illustration3 ,metropolitan ,museum of ,art ,,across ,,the ,,fields1 ,,by ,d4 ,w4 ,,tryon ,illustration3 ,american ,art ,annual ,d4 ,w4 ,,tryon ,with ,wyant1 ,martin1 and ,inness our early landscape school reached its culmination4 ,their lives all continued after the end of the ,civil ,war1 they even did their best work after it2 but they belonged to a school formed in other surroundings4 ,after the war conditions changed4 ,the country was less isolated1 intercourse was easier1 wealth had increased1 and foreign paintings1 calculated to show the deficiencies of native work1 became increasingly common4 ,the budding artists were no longer willing to pick up their art by their own exertions1 aided by occasional counsel from their elders or such inadequate schools as the country then furnished1 but departed in ever increasing numbers to the famous schools of ,europe4 ,the difference was not that the earlier painters had ignored ,europe4 ,they traveled to see the masterpieces of art and the beauties of nature in foreign countries2 but they were on the whole contented with their work and proud of their native school4 ,the younger men absorbed enthusiasm for foreign workmanship1 and adopted foreign standards4 ,,the ,,sentiment ,,of ,,tryon ,d4 ,w4 ,tryon is an example of this new spirit at its best4 ,his sentiment1 if not so deep and strong as ,inness at his best1 is yet more delicate and subtle4 ,that is due to a difference of temperament2 but the way in which the picture is developed is a matter of training4 ,with ,inness the first thing was to express somehow his feeling1 and then the canvas was worked over until it was got into construction2 with ,tryon the draftsmanship was fundamental and indispensable1 and the sentiment was built upon that4 ,one may say of our recent landscapes that they show a construction gained from the study of the nude and a handling adapted from the best foreign models4 ,this education has greatly raised the average of our art2 but a few men of the older time had strength and feeling to work out a training for themselves more personal and perhaps as permanent as that of the later day4 ,time tests all things1 and its verdict cannot be foreseen2 but it is doubtful if it will place any of our modern landscape artists before ,martin or ,inness4 ,among these modern landscape painters are men of such talent as ,h4 ,w4 ,ranger1 ,bruce ,crane1 and ,j4 ,francis ,murphy1 without mention of whom no article on ,american landscape painters would be complete4 ,illustration3 ,h4 ,w4 ,,ranger ,illustration3 ,,bruce ,,crane ,illustration3 ,j4 ,,francis ,,murphy ,,supplementary ,,reading ,illustration ,american ,painters ,george ,w4 ,sheldon ,art in ,america ,s4 ,g4 ,w4 ,benjamin ,american ,masters of ,painting ,c4 ,h4 ,caffin ,the ,story of ,american ,painting ,c4 ,h4 ,caffin ,a ,history of ,american ,painting ,samuel ,isham ,a ,history of ,american ,art ,k4 ,s4 ,hartman ,book of the ,artists ,henry ,t4 ,tuckerman ,life and ,times of ,asher ,b4 ,durand ,john ,durand ,homer ,martin ,frank ,jewett ,mather ,george ,inness ,elliott ,daingerfield ,george ,inness3 ,a ,memorial ,alfred ,trumble ,homer ,martin3 ,a ,reminiscence ,illustration ,,questions ,,answered ,subscribers desiring further information concerning this subject can obtain it by writing to ,the ,mentor ,association #cha ,fourth ,avenue1 ,new ,york ,city ,illustration3 ,,autumn ,,oaks ,by ,,george ,,inness ,metropolitan ,museum of ,art ,,american ,,landscape ,,painters ,george ,inness ,,one ,george ,inness is said to have painted more good pictures than anyone else ever painted4 ,at any rate1 he painted more than he himself could remember4 ,a landscape supposed to be ,inness's was brought by the man who owned it to the artist's studio1 with a request to know if it was genuine4 ,inness looked at the painting carefully for a long time4 8,leave it1 leave it10 he finally said4 8,perhaps ,i shall recall it40 ,inness spent the greater part of a long career in the neighborhood of ,new ,york4 ,he began studying at the age of fourteen4 ,he received very little instruction2 but for the most part found out through his own hard work and drudgery all that a painter must know about drawing1 colors1 and the mechanical side of art4 ,then1 during a few years in ,italy1 the glorious landscapes1 the historic traditions1 the art of old masters1 all combined to develop in the artist1 who was then but a young man1 that quality of imagination which was needed to make him a genius4 ,yet neither his knowledge of art nor his imagination could have placed him foremost among painters of ,american landscape had it not been for the energy that was above all characteristic of his nature4 ,inness would often work fifteen hours at a stretch4 ,friends wondered at his endurance1 and even more at the speed with which he painted4 ,he saw one day two pictures by ,rousseau1 the famous ,french artist1 and remarked to a friend1 8,i could paint two of those a day40 ,next day1 to prove his point1 ,inness painted two canvases in the ,french style1 and later sold them both to one man4 ,an incident that happened at ,montclair1 ,new ,jersey1 shows how little he valued his own finished work4 ,when out walking one day he was overtaken by a thunderstorm1 and was so impressed with its fury and grandeur that he rushed home to paint it while the memory was still fresh4 ,arrived at the house1 and unable to find a canvas large enough for his idea1 he took down a ten-foot picture of ,mount ,washington which he had painted years before4 ,in two hours the mountain scene was replaced by a striking representation of the storm just over4 ,that picture1 with the outline of ,mount ,washington still traceable by ridges of paint1 now hangs in the museum at ,st4 ,louis4 ,men of great energy often wear themselves out early in life2 yet ,george ,inness kept on painting to a good ripe age4 ,at sixty-nine he died in ,scotland1 where he had gone for his health4 ,,prepared ,,by ,,the ,,editorial ,,staff ,,of ,,the ,,mentor ,,association ,,illustration ,,for ,,the ,,mentor1 ,,vol4 #a1 ,no4 #bf1 ,,serial ,no4 #bf ,illustration3 ,,view ,,on ,,the ,,seine ,by ,,homer ,,martin ,metropolitan ,museum of ,art ,,american ,,landscape ,,painters ,homer ,martin ,,two ,of all our great artists the most unsuccessful financially was ,homer ,dodge ,martin4 ,his work was not popular2 he never won any prizes2 and indeed he was long forced to depend for a living on the assistance of his wife4 ,like many other early ,american artists1 he was self-taught4 ,his father1 a carpenter in ,albany1 ,new ,york1 was not easily persuaded to let the boy follow up a natural talent for painting4 ,martin first tried carpentering1 shopkeeping1 and architecture4 ,in each case his desire to draw pictures was too strong for him1--boards1 paper1 blank walls1 were decorated with landscapes1--until his employers found it necessary to discharge the young artist4 ,at last a sculptor of the time pleaded for him1 and ,homer was permitted to paint4 ,martin insisted on doing everything in his own way1 and he did not get far at first4 ,his admirers can find hardly more than an occasional hint in these crude early works of the great skill that this artist afterward acquired4 ,nevertheless1 the wealthier people of ,albany1 who were proud of their artist1 bought a number of ,martin's canvases4 ,it was not until he moved to ,new ,york in #ahfb that this queer genius had a really hard struggle to live4 ,his habits were irregular1 he dressed badly1 and generally made a poor impression4 ,the great ,whistler said1 introducing him1 8,gentlemen1 this is ,homer ,martin4 ,he doesn't look as if he were2 but he is60 ,revolutionary ideas and a keen1 cutting humor made him as many enemies as friends4 ,strangely enough1 he chose quiet1 calm landscapes to paint4 ,he was attracted to the ,catskills1 ,adirondacks1 and ,white ,mountains1 and in ,europe preferred tranquil scenes along the upper ,thames and in ,normandy4 ,homer ,martin seldom painted direct from nature2 but would sketch in his notebook and jot down color memoranda4 ,less surprising1 therefore1 than it would seem at first is the painting of two famous pictures in #ahie1 when he was all but blind4 8,the ,adirondacks0 and the 8,view on the ,seine0 rank with his best work4 ,two years later he died4 ,martin was not appreciated during his lifetime4 ,the few pictures that he did manage to sell were purchased by his friends4 ,today few of his important pictures can be bought at any price4 ,,prepared ,,by ,,the ,,editorial ,,staff ,,of ,,the ,,mentor ,,association ,,illustration ,,for ,,the ,,mentor1 ,,vol4 #a1 ,no4 #bf1 ,,serial ,no4 #bf ,illustration3 ,,an ,,old ,,clearing ,by ,a4 ,h4 ,,wyant ,metropolitan ,museum of ,art ,,american ,,landscape ,,painters ,a4 ,h4 ,wyant ,,three ,many a great artist has begun life in some distasteful branch of trade4 ,wyant worked for a harness maker4 ,he was born and brought up at ,port ,washington1 ,ohio1 and though he is said to have sketched flowers and leaves on the kitchen floor during his childhood1 and later to have used his spare time in sign painting1 he had no real opportunity either of showing his own talent or of seeing pictures by other artists until he was nearly twenty4 ,a visit to ,cincinnati1 where he saw the work of ,george ,inness1 may be considered the beginning of ,wyant's artistic career4 ,from that time on1 his one ambition in life was to be a great painter4 ,he set out for ,new ,york ,city as soon as he could get money enough together1 found ,inness1 and received from the master painter both help and encouragement4 ,inness saw great possibilities in this ,ohio boy4 ,on his return ,wyant made studies of the ,ohio ,valley1 where no artist of any account had ever painted4 ,he threw into his work all the energy and enthusiasm of which his poetic genius was capable4 ,the year #ahfe brought the opportunity to which ,wyant had long looked4 ,he was able to go abroad1 and study there for awhile in ,karlsruhe and ,london4 ,but the result was somewhat disappointing2 for he failed to get the inspiration he expected from contact with ,european painters4 ,another disappointment was in store for him when he undertook1 like ,moran1 to explore the ,west4 ,indeed1 it was more than a disappointment4 ,he was treated so brutally by the leader of the expedition that on returning he suffered a stroke of paralysis4 ,although he never entirely recovered1 ,wyant would not give up the old determination to be a great artist4 ,his right hand useless1 the invincible painter learned to use his left1 and with it did more perfect work than he had ever done with the other4 ,it is a fact which cannot be too much regretted that ,wyant reached the end of his life before his genius could be perfected4 ,he himself knew that it would be so4 8,had ,i but five years more in which to paint10 he said1 8,i think ,i could do the thing ,i long to40 ,in the mystic coloring of his ,adirondack scenes we catch glimpses of the thing he longed to do4 ,,prepared ,,by ,,the ,,editorial ,,staff ,,of ,,the ,,mentor ,,association ,,illustration ,,for ,,the ,,mentor1 ,,vol4 #a1 ,no4 #bf1 ,,serial ,no4 #bf ,illustration3 ,,in ,,nature',s ,,playground ,by ,,thomas ,,moran ,,american ,,landscape ,,painters ,thomas ,moran ,,four ,though a true ,american1 taking great pride in his chosen country and her art1 ,moran is ,english by birth4 ,when he was but seven years old the boy's parents settled in ,philadelphia1 where he received his education4 ,that he should soon show remarkable talent was not at all surprising1 as the family he belongs to has produced nine distinguished artists4 ,thomas ,moran was apprenticed to a wood engraver1 whose art he mastered before starting to work in color4 ,engraving has in fact occupied a considerable part of his life ever since1 and his etchings are among the best that have been done in ,america4 ,he has also great skill in water color2 though he is best known for his oil paintings4 ,success came easily and quickly4 ,moran went with a government exploring expedition to the ,west1 where he wished to sketch the unknown ,rockies4 ,a poetic imagination1 coupled with an eye trained to note and remember the smallest details1 could not fail to being home valuable material4 ,the artist's enthusiasm was aroused by that bigness in the scenes before him which now brings tourists from all parts of the world4 ,the magnificent coloring of rock and mountainside1 forest and canyon and swift river1 was faithfully observed1 to be rendered in the most famous of ,moran's paintings4 ,the ,united ,states government chose two of his pictures1 8,the ,grand ,canyon of the ,yellowstone0 and 8,the ,grand ,chasm of the ,colorado10 to adorn the walls of the national ,capitol4 ,the artist received for them #aj1jjj apiece4 ,moran must be considered one of our self-taught painters2 for1 except during his first visits to ,europe1 he received very little instruction4 ,he is an ,american painter of ,american landscapes4 ,yet he has also made several excellent paintings of the sea4 ,he likes best to paint the sea with mountains near at hand in the picture4 ,he has made several prolonged stays in ,europe2 but is most fond of his home at ,east ,hampton1 ,long ,island4 ,,prepared ,,by ,,the ,,editorial ,,staff ,,of ,,the ,,mentor ,,association ,,illustration ,,for ,,the ,,mentor1 ,,vol4 #a1 ,no4 #bf1 ,,serial ,no4 #bf ,illustration3 ,,twilight--,,autumn ,by ,d4 ,w4 ,,tryon ,copyright by ,n4 ,e4 ,montross ,,american ,,landscape ,,painters ,dwight ,william ,tryon ,,five ,the world stands ready to admire a painter whose trees bend beneath the gale1 their tops all but whipping the torn1 gray1 low-driving clouds1 and whose lightning and rain and frightened animals aid the dramatic impression of violent storm4 ,yet the world often forgets the sort of skill that can show a light wind barely swaying the straight1 stark woods of ,march1 or can bring home to everyone the chill and the melancholy of oncoming frost in an autumn evening4 ,when trees toss we know that the wind is up4 ,running cattle suggest thunder4 ,but in 8,twilight--,autumn0 there is nothing to tell us why we seem to hear the far-off moaning of the ,november wind4 ,tryon makes one feel the spirit of scene and season4 ,at the age of twenty-five ,dwight ,william ,tryon first set up his studio4 ,before this he had been a clerk in a bookstore at ,hartford1 ,connecticut4 ,at seven he began studying at the cole des ,beaux ,arts under ,daubigny and ,de la ,chevreuse4 ,two of his pictures were exhibited at the ,paris ,salon4 ,since then he has won prizes everywhere--a gold medal of the first class at ,munich in #ahia2 thirteen medals at the ,chicago exhibition1 #ahic2 and many more4 ,he is a member of the ,national ,academy4 ,some of the best of ,tryon's earlier work is included in a series of landscapes and marines which he painted for the hall of a collector in ,detroit4 ,one of his series1 8,dawn--,early ,spring10 is remarkable for its simplicity4 ,the foreground is a low1 marshy field1 back of which an almost uniform line of trees runs the whole width of the horizon4 ,yet this painting1 with all its simplicity1 is so full of imagination that a beholder feels the dawn and the bleakness of ,march sinking irresistibly into his mind4 ,it is ,tryon's method to conceal his art1 and make us feel the emotion in a picture without knowing why we feel it4 ,all his paintings have the same subtle simplicity4 ,among the best known are his 8,winter0 and 8,a ,scene at ,new ,bedford40 ,,prepared ,,by ,,the ,,editorial ,,staff ,,of ,,the ,,mentor ,,association ,,illustration ,,for ,,the ,,mentor1 ,,vol4 #a1 ,no4 #bf1 ,,serial ,no4 #bf ,illustration3 ,,heart ,,of ,,the ,,andes ,by ,f4 ,e4 ,,church ,metropolitan ,museum of ,art ,,american ,,landscape ,,painters ,frederick ,edwin ,church ,,six ,many people like to find something unusual or striking in a picture4 ,to these the paintings of ,frederick ,edwin ,church make a special appeal4 ,the range of ,church's art is wide1 and covers subjects chosen from many parts of the world4 ,before cameras were invented nobody could tell1 unless he went there himself1 just what a tropical forest looked like4 ,therefore1 when ,church wanted to paint something mysterious and wonderful he traveled to ,south ,america1 among the mountains and through jungles of which few people in northern countries had any idea4 ,it was not strange that critics should praise the landscapes he painted on his return1--scenes by moonlight across a luxuriant growth of palms and creepers1 or high mountain peaks with animals of the tropics lurking about the foreground4 ,so enthusiastically were his canvases received1 both at home and abroad1 that the young artist soon revisited those regions1 and made further studies1 which met with equal success4 ,the greatest of his ,south ,american works is 8,the ,heart of the ,andes40 ,feeling at length that he had learned enough of one country1 and desiring a wider field for his genius1 ,church turned northward4 8,niagara ,falls from the ,canadian ,shore0 is a picture known to everyone4 ,a journey to ,labrador gave him new opportunities1 quite the opposite of what he had experienced in the tropics4 ,we have the result in 8,icebergs10 one of his best canvases4 ,for him nothing was too difficult4 ,soon afterward ,church left ,america1 made southern ,europe his study1 and went on from there into ,palestine4 8,the ,parthenon10 a picture showing that magnificent temple in the middle distance1 with no other object prominent enough to lessen the majesty of its ancient ruined architecture1 is the most famous record of this ,european period in the artist's life4 ,church painted on very large canvases1 and was painstaking to the smallest detail4 ,a pioneer in the landscape art of ,america1 he had all the directness and bigness of the pioneer4 8,the ,heart of the ,andes0 and the 8,niagara0 give him a permanent place in the history of ,american painting4 ,,prepared ,,by ,,the ,,editorial ,,staff ,,of ,,the ,,mentor ,,association ,,illustration ,,for ,,the ,,mentor1 ,,vol4 #a1 ,no4 #bf1 ,,serial ,no4 #bf