Identifier: landscapefigurepai00sher (find matches)
Title: Landscape and figure painters of America
Year: 1917 (1910s)
Authors: Sherman, Frederic Fairchild, 1874-1940
Subjects: Landscape painting Figure painting
Publisher: New York : Privately printed
Contributing Library: Getty Research Institute
Digitizing Sponsor: Getty Research Institute

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strong peculiar impres-sion. . . . Through this faculty he penetratesto the very heart of things, and seems to bemore clear sighted than other men. . . . Theend of a work of art is to manifest some essen-tial or salient character, consequently someimportant idea, clearer and more completelythan is attainable from real objects. Delacroix, the leader in the revolt againstclassicism in France, writes very stronglyagainst realism: journal de Le realisme devrait etre defini VantipodeDefacroix. de Part. . . car peut-on concevoir que Pespritne guide pas la main de lartiste, et croira-t-onpossible en meme temps que, malgre toute sonapplication a imiter, il ne tiendra pas ce sin-gulier travail de la couleur de son esprit?Le but de lartiste nest pas de reproduireexactement les objets; cest a Pesprit quilfaut arriver. Although Whistler speaks as if what he callsthe painter quality were the only really greatthing in art, it is evident to anyone who hasseen those strangely personal nocturnes which
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VARIOUS OPINIONS ABOUT ART 51 OClock.Whistler. emanated from him how fully he expressedhis inner feelings in his works. And scatteredhere and there among his writings, concealedunder a covering of such brilliant and satiricalwit as has seldom been seen, we find his trueideas about art. Talking of the critic-writer,who had no technical knowledge of painting,he says: Meanwhile the painters poetry is Tenquite lost to him; the amazing invention thatshall have put form and colour into such per-fect harmony, that exquisiteness is the result,he is without understanding; the nobility ofthought that shall have given the artistsdignity to the whole says to him absolutelynothing. In the celebrated lawsuit, Whistlerv. Ruskin, he was asked, Do you say thatthis is a correct representation of BatterseaBridge? I did not intend it, he answered, «Xheto be a correct portrait of the bridge. As to Gentle Art r & of Making what the picture represents, that depends upon Enemies.who looks at it. To some

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