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But with all his transcendental virtuosity the Welsh painter is never academic; he is often rank in his expression of humanity, human, all-too-human, as Nietzsche would have said. But aside from his powerful personality and remarkable craftsmanship, who is there that can't be matched by our own men? There are no landscapists like ours is it necessary to count them off name by name?
The Pre-Raphaelites and naturalistic landscapists no longer needed the hand which "Modern Painters" had held out to them by the way. Of the great triad of Venice, Tintoret had been expounded, Veronese and Titian were now taken up and treated with tardy, but ample recognition.
Whether our landscapists glaze and scumble with the tonalists, or use some modification of the impressionist hatching, it is for the sake of color; and even our most forthright and dashing wielders of the big brush often achieve a surprising power of resonant coloring. Power, fulness, and beauty of coloring are hardly modern qualities.
Herkimer began to speak of one thing and another, of Bennett, who had gone dramatically to the Transvaal; of Le Gage, who was now in the forefront of the younger group of landscapists; of the old types that still came faithfully to the Café des Lilacs, the old chess-players, the fat proprietor, with his fat wife and three fat children who dined there regularly every Sunday, of the new revolutionary ideas among the younger men that were beginning to assert themselves.
The very young artists Laprade and Charles Guérin have shown for the last three years, at the exhibition of the Indépendants, some works which are the worthy result of Manet's and Renoir's influence. They, too, justify great expectations. The landscapists Paul Vogler and Maxime Maufra, more advanced in years, have made themselves known by some solid series of vigorously presented landscapes.
He purchased another great tract of land near the city, and donated it to the UN for their new headquarters buildings; the same architects and landscapists who had created the estate at Carondelet were put to work on it. In the middle of what was to become World City, they erected a small home for Fred Benson.
When the Barbizon group made their influence felt our landscapists immediately betrayed the impact of the new vision, the new technique. Our younger men are just as progressive as were their fathers and grandfathers. Every fresh generation uses as a spring-board for its achievements the previous generation. They have a lot to put on canvas, new sights that only America can show.
William Hunt, the New Englander of genius, the "Boston painter" whose authority was greatest during the thirty years from 1857 or so, and with whom for a time in the early period W. J. was to work all devotedly, had prolonged his studies in Paris under the inspiration of Couture and of Edouard Frère; masters in a group completed by three or four of the so finely interesting landscapists of that and the directly previous age, Troyon, Rousseau, Daubigny, even Lambinet and others, and which summed up for the American collector and in the New York and Boston markets the idea of the modern in the masterly.
Gallery 49 contains, on wall A, a splendid collection of the work of Dwight W. Tryon, one of the older school of landscapists, who helped to break the way for the moderns and has kept up with them to a great extent. With the exception of one canvas, the pictures on walls B and D are by J. Alden Weir, another roadbreaker, and an experimenter with new effects of light and atmosphere.
A tapestry of 1908 from the design of The Chace by Heyward Sumner suggests long hours with the Flemish landscapists of the Seventeenth and Eighteenth Centuries, with a jarring note of Pan dragged in by the ears to huddle under foliage obviously introduced for this purpose. Merton Abbey Tapestry.
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