Modern Painting in Usa

MODERN PAINTING IN U.S.A.

North America.

The art of North America has submitted in turn to many influences. At first, in the 18th and early 19th centuries, the influence came from England and some of the lead ing painters, such as West, Copley, Gilbert Stuart, actually took up residence in England and played prominent parts in the art there. Others, like Matthew Pratt, Trumbull, Vanderlyn, remained in the U.S. and practised sound tradition with success.

As the younger painters migrated to Europe for the purposes of study, the centre of influence was shifted; at first, in the 1850's, to Diisseldorf, Munich and Antwerp, where such painters as East man Johnson, Dielman, Chase, Duveneck worked. The last named had a school in Munich, with J. W. Alexander, Vinton, De Camp, etc., as his pupils. The influence of the French Barbizon School then began to be felt in the work of W. M. Hunt, George Innes and La Farge. This was succeeded by the potent influence of French Impressionism which has had beneficial effect on the work of Alex. Harrison, Benson, Alder Weir and particularly Childe Hassam.

The establishment of the Society of American Artists in 1877 with La Farge as President did much to organize and strengthen American Art.

This brief review of 19th century art in the U.S. shows that American artists have always received educational stimulus from Europe. The same is true to-day, but the influence is now derived almost exclusively from Paris. In spite of the claim of many American writers, there is no art that can be acclaimed as definitely and peculiarly American. The American stock in art is fundamentally academic and it is particularly susceptible to European influence.

Three or four names are especially prominent in American art, but they, strictly speaking, belong to the late 19th century both in theory and in practice. North America's greatest practitioner, Winslow Homer (1836-1910) was influenced mainly by Courbet. He was a strong realist. Certain distinguished artists, Whistler, Sargent, Abbey, Mary Cassatt, although American in origin, have been claimed by other schools. The first was a law unto himself and might have been claimed, with equal justification, by Japan or Paris. Sargent was Carolus Duran raised to the nth power, Abbey was academic and Mary Cassatt, a delightful artist, be longed to and was the product of the French Impressionist School.

The main influence on American art of the present day is that of the so-called followers of Cezanne. That is, on the younger painters, like Samuel Halpert. There is in America, as in all other countries, a strong and steady current of art which is not definitely influenced by modern events, but which is really the main stream into which modern tributaries flow, changing its character almost imperceptibly. W. M. Chase (1849-1916), a

sort of Sargent without Sargent's peculiar snap, but with a cer tain added reticence, and J. W. Alexander (1856-1915), a charm ingly decorative portrait painter, are in no sense innovators but be long unobtrusively to the main stream. There are many other art ists who have attained varying degrees of fame without definitely influencing present-day art. Frank Duveneck (1848-1919), who studied in Munich, is known as a follower of Whistler. J. R. de Camp (1858-1923), who followed after; A. H. Thayer (1849 1921), whose influence was German cum Italian 17th century with a religious tendency; G. de Forest Brush (1855– ), the portrait painter with an interest in Indian subjects; Kenyon Cox (1856-1919),a decorative painter not uninfluenced by J. F. Millet ; Howard Pyle (1853-1911), a strong illustrator, all belong to the 19th century so far as their art is concerned. Other names, which are more or less well-known, are Gari Melchers (186o-1932), who was nursed in Germany and Holland; Cecilia Beaux (1863– ), whose portraits are popular; C. D. Gibson (1867– ) who began and ended as an illustrator; Albert Sterner (1871-1918), a charming illustrator; J. F. Folinsbee (1892– ), a good painter of running water in the manner of Thaulow. Among the younger painters one finds the essential American acad emicism, superficially influenced by the doctrine of so-called Post-Impressionism and, one may note that American writers appear to attach a special meaning to that vague term. Although George B. Luks (1867-1933) was educated at Pennsylvania Acad emy, and in Paris, Diisseldorf and London, he professed to scorn all academic training. It is claimed that he painted "in the way Whitman wrote." E. L. Blumenschein (1874– ) seeks to emulate Gauguin; A. B. Davies (1862-1928) practised a sort of academic and somewhat remote imitation of Puvis de Cha vannes ; G. W. Bellows (1882-1925) is strongly realistic; the work of Rockwell Kent (1882– ) is reminiscent of Cameron, with an added crudity which passes as strength, Samuel Halpert, a follower of Cezanne and Derain, is one of the most promising of the younger school.

According to at least one American writer, there is a school of "Virile Impressionism," but its tenets or its peculiarities are not apparent. This writer says that "Matisse is moved by a spirit fundamentally different from that which animates Davies, Arthur, Jerome and Eddy." Kroll, one of the leading members of the school, is a striking example of the prevailing idea of Impression ism. There are many facilities in America for the popularization of art. The art galleries are well built and admirably organized. The art schools are perhaps the most up-to-date in the world. Art and artists have every opportunity.