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Updated: August 4, 2024
Twachtman's natural reticence and, I could also believe, natural skepticism kept him from swinging wildly over to the then new theories, a gesture typical of less intelligent natures. He had the good sense to feel out for himself just where the new theories related to himself and set about producing flat simplicity of planes of color to produce a very distinguished notion of light.
These five, in their order from the main entrance are: No. 87, devoted to the old-masterlike works of Frank Duveneck, who, more perhaps than any other American, shows the great manner of Velasquez, Rembrandt and Franz Hals, and to whom the jury has recommended that a special medal be given for his influence on American art; No. 88 filled with the admirable Impressionist landscapes of E. W. Redfield; 89 and 93, given up to the widely contrasted work of Edmund C. Tarbell and John H. Twachtman, each in his own fashion a master and enjoying a well-earned popularity, Twachtman's pictures in particular commanding almost as high prices as those of the men in Room 54; and No. 90, just off the Tarbell room, containing a small loan collection which very incompletely represents William Keith.
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