LANDSCAPE PAINTING BY BIRGE HARRISON
Forward and Contents
LANDSCAPE PAINTING
BIRGE HARRISON
WITH TWENTY-FOUR REPRODUCTIONS OF REPRESENTATIVE PICTURES
NEW YORK
CHARLES SCRIBNER’S SONS
Published October, 1909
FORWARD
This little book represents the fulfillment of a promise to put into permanent form certain impromptu talks on landscape painting given before the Art Students' League of New York at its summer school at Woodstock, N. Y. No effort has been made to elaborate the themes treated, the writer feeling that what might be gained in literary form might very well be lost in spontaneity and conciseness of statement. It is hardly necessary to say that these little talks make no claim to infallibility of judgment They simply represent the present beliefs and convictions of a painter who is himself still a student; but they are sincere, at least, and “straight from the shoulder."
It is to be regretted that the art of color printing has not yet reached a stage of development where it can be trusted with the reproduction of a masterpiece of landscape, which often depends for its beauty on color-tones and color-transitions of extreme delicacy. In the present volume it has been judged best to confine the reproductions to simple half-tones in black and white — to give no color rather than color which is false and misleading; and the illustrations here included are therefore presented, not as adequate representations of the works themselves, but as hints and suggestions only of the qualities which give to those works their distinction and their beauty.
Thanks are due to the editors of Scribner's Magazine, The North American Review, The International Studio, and Palette and Brush for permission to reprint here certain of the chapters which have already appeared in the publications mentioned.
B. H.
Woodstock, N. Y., 1909.
CONTENTS
1. Landscape Art in General
2. Color
3. Vibration
4. Refraction
5. Values
6. Drawing
7. Composition
8. Quality
9. Pigments
10. On Framing Pictures
11. On Schools
12. The Arts and Crafts
13. Mural Painting
14. On Vision
15. The Importance of Fearlessness in Painting
16. The Sub-Conscious Servant
17. Temperament
18. Character
19. What is a Good Picture?
20. The True Impression
21. The Future of American Art
ILLUSTRATIONS
J. B. C. COBOT | Landscape (Frontispiece)
J. F. MILLET | The Shepherdess (facing page 10)
ANTON MAUVE | A Flock of Sheep (page 22)
CLAUDE MONET | The Bridge at Argenteuil (page 84)
WINSLOW HOMER | The Fog Warning (page 44)
D. W. TETON | Twilight, Autumn (page 60)
CHARLES H. WOODBURY | The North Atlantic (page 74)
H. W. RANGER | Landscape (page 90)
PAUL DOUGHERTY | Land and Sea (page 104)
E. W. BEDFIELD | The Red Barn (page 112)
ALEXANDER HARBISON | La Crèpuscule (page 126)
CHILDE HASSAM | Brooklyn Bridge (page 132)
W. L. METCALF | Summer Moonlight (page 148)
W. ELBIEB SCHOFIELD | Winter in Picardy (page 154)
LEONARD OCHTMAN | Wood Interior (page 166)
BRUCE CRANE | November Hills (page 174)
BEN FOSTER | Early Moonrise (page 186)
J. ALDRN WEIR | New England Factory Village (page 196)
HENRY G. DEARTH | Moonrise (page 202)
EMIL CARLSEN | Landscape (page 208)
BIRGE HARBISON | Woodstock Meadows in Winter (page 216)
W. L. LATHROP | At Dusk (page 228)
CHARLES MELVILLE DEWEY | October Evening (page 240)
GEORGE INNESS | Autumn Oaks (page 248)
Note: The page numbers refer to the pages found in the 1913 edition of Landscape Painting. Wherever possible I have included these images within the chapters they are found.