From a photograph by Braun, Clement & Co.
J. B. C. Corot—"Landscape"
LANDSCAPE PAINTING
BY
BIRGE HARRISON
WITH TWENTY-FOUR REPRODUCTIONS OF
REPRESENTATIVE PICTURES
FOURTH EDITION
NEW YORK
CHARLES SCRIBNER'S SONS
1910
Coyright, 1909, by Charles Scribner's Sons
Published October, 1909
To
J. S. H.
FOREWORD
This little book represents the fulfilment 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 Palatte and Brush for permission to reprint here certain of the chapters which have already appeared in the publications mentioned.
Woodstock, N. Y., 1909.
CONTENTS
| CHAPTER | PAGE | |
| I. | Landscape Art in General | 1 |
| II. | Color | 12 |
| III. | Vibration | 31 |
| IV. | Refraction | 47 |
| V. | Values | 65 |
| VI. | Drawing | 78 |
| VII. | Composition | 89 |
| VIII. | Quality | 99 |
| IX. | Pigments | 107 |
| X. | On Framing Pictures | 123 |
| XI. | On Schools | 131 |
| XII. | The Arts and Crafts | 141 |
| XIII. | Mural Painting | 147 |
| XIV. | On Vision | 154 |
| XV. | The Importance of Fearlessness in Painting | 158 |
| XVI. | The Sub-Conscious Servant | 164 |
| XVII. | Temperament | 178 |
| XVIII. | Character | 189 |
| XIX. | What is a Good Picture? | 199 |
| XX. | The True Impressionism | 207 |
| XXI. | The Future of American Art | 234 |
ILLUSTRATIONS
| j. b. c. corot | |
| "Landscape" | Frontispiece |
| j. f. millet | facing page |
| "The Shepherdess" | 10 |
| anton mauve | |
| "A Flock of Sheep" | 22 |
| claude monet | |
| "The Bridge at Argenteuil" | 34 |
| winslow homer | |
| "The Fog Warning" | 44 |
| d. w. tryon | |
| "Twilight, Autumn" | 60 |
| charles h. woodbury | |
| "The North Atlantic" | 74 |
| h. w. ranger | |
| "Landscape" | 90 |
| paul dougherty | |
| "Land and Sea" | 104 |
| e. w. redfield | |
| "The Red Barn" | 112 |
| alexander harrison | |
| "La Crépuscule" | 126 |
| childe hassam | |
| "Brooklyn Bridge" | 132 |
| w. l. metcalf | |
| "Summer Moonlight" | 148 |
| w. elmer schofield | |
| "Winter in Picardy" | 154 |
| leonard ochtman | |
| "Wood Interior" | 166 |
| bruce crane | |
| "November Hills" | 174 |
| ben foster | |
| "Early Moonrise" | 186 |
| j. alden weir | |
| "New England Factory Village" | 196 |
| henry g. dearth | |
| "Moonrise" | 202 |
| emil carlsen | |
| "Landscape" | 208 |
| birge harrison | |
| "Woodstock Meadows in Winter" | 216 |
| w. l. lathrop | |
| "At Dusk" | 228 |
| charles melville dewey | |
| "October Evening" | 240 |
| george inness | |
| "Autumn Oaks" | 248 |
This work is in the public domain in the United States because it was published before January 1, 1929.
The longest-living author of this work died in 1929, so this work is in the public domain in countries and areas where the copyright term is the author's life plus 94 years or less. This work may be in the public domain in countries and areas with longer native copyright terms that apply the rule of the shorter term to foreign works.
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