LANDSCAPE PAINTING BY BIRGE HARRISON

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LANDSCAPE PAINTING

BIRGE HARRISON

WITH TWENTY-FOUR REPRODUCTIONS OF REPRESENTATIVE PICTURES

NEW YORK

CHARLES SCRIBNER’S SONS

Published October, 1909

 

FORWARD

L. Birge Harrison | Artist

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.

Landscape, by J. B. C. Corot

Landscape, by J. B. C. Corot

 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.

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1: Landscape Art in General