An Evening at Medfield - George Inness<br><p><b>Identifier</b>: ameng00vand (<a class="external text" href="https://commons.wikimedia.org/w/index.php?title=Special%3ASearch&amp;profile=default&amp;fulltext=Search&amp;search=insource%3A%2Fameng00vand%2F">find matches</a>)<br><b>Title</b>: <a rel="nofollow" class="external text" href="https://www.flickr.com/photos/internetarchivebookimages/tags/bookidameng00vand">American painting and its tradition : as represented by Inness, Wyant, Martin, Homer, La Farge, Whistler, Chase, Alexander, Sargent</a><br><b>Year</b>: <a rel="nofollow" class="external text" href="https://www.flickr.com/photos/internetarchivebookimages/tags/bookyear1920">1920</a> (<a rel="nofollow" class="external text" href="https://www.flickr.com/photos/internetarchivebookimages/tags/bookdecade1920">1920s</a>)<br><b>Authors</b>:  <a rel="nofollow" class="external text" href="https://www.flickr.com/photos/internetarchivebookimages/tags/bookauthorVan_Dyke__John_Charles">Van Dyke, John Charles</a><br><b>Subjects</b>:  <a rel="nofollow" class="external text" href="https://www.flickr.com/photos/internetarchivebookimages/tags/booksubjectAmerican_Painting">American Painting</a><br><b>Publisher</b>:  <a rel="nofollow" class="external text" href="https://www.flickr.com/photos/internetarchivebookimages/tags/bookpublisherCharles_Schribner_s_Sons">Charles Schribner's Sons</a><br><b>Contributing Library</b>:  <a rel="nofollow" class="external text" href="https://www.flickr.com/photos/internetarchivebookimages/tags/bookcontributorWhitney_Museum_of_American_Art__Frances_Mulhall_Achilles_Library">Whitney Museum of American Art, Frances Mulhall Achilles Library</a><br><b>Digitizing Sponsor</b>:  <a rel="nofollow" class="external text" href="https://www.flickr.com/photos/internetarchivebookimages/tags/booksponsorMetropolitan_New_York_Library_Council___METRO">Metropolitan New York Library Council - METRO</a><br><br><b>View Book Page</b>: <a rel="nofollow" class="external text" href="https://archive.org/stream/ameng00vand/ameng00vand#page/n46/mode/1up">Book Viewer</a><br><b>About This Book</b>: <a rel="nofollow" class="external text" href="https://archive.org/details/ameng00vand">Catalog Entry</a><br><b>View All Images</b>: <a rel="nofollow" class="external text" href="https://www.flickr.com/photos/internetarchivebookimages/tags/bookidameng00vand">All Images From Book</a><br>
Click here to <a rel="nofollow" class="external text" href="https://archive.org/stream/ameng00vand/ameng00vand#page/n46/mode/1up"><b>view book online</b></a> to see this illustration in context in a browseable online version of this book.<br><br><b>Text Appearing Before Image:</b><br><i>ened, his light grew more subtle, his colorbecame richer and fuller. Corot had taught himhow to sacrifice detail to the mass, Rousseau hadimproved his use of the tree, Daubigny gave himmany hints about atmosphere; from Decampshe learned how to drive a light with darks, andDelacroix opened to him a gamut of deep, richcolor. He was now in position to graft the Frenchtradition of landscape upon the American stock.And this he did, but in his own manner andwith many lapses, even failures, by the way. All through this third period, and for thatmatter up to his death, Inness was experiment-ing with landscape. Every canvas was a newadventure in color, light, and air. In his lastperiod he seemed to see landscape in relatedmasses of color rather than in linear extensions;and so he painted it holding the color patchestogether with air and illuminating the wholemass by a half-mysterious light. It was notattenuated color—mauves, pinks, and sad grays—^but strong reds, blues, greens, and yellows</i><br><b>Text Appearing After Image:</b><br><i>H GEORGE INNESS S3 keyed up oftentimes to a high pitch and fire-hued by sunh*ght# Nor were they put on the can-vas in Httle dots and dabs, but rather sliown inlarge masses brought together for massed effectand made resonant by contrast. Almost all of his later pictures will be foundto hinge upon color, light, and atmosphere.He was very fond of moisture-laden air, raineffects, clouds, rainbows, mists, vapors, fogs,smokes, hazes—all phases of the atmosphere.In the same way he fancied dawns, dusks, twi-lights, moonlights, sunbursts, flying shadows,clouded lights—all phases of illumination. Andagain, he loved sunset colors, cloud colors,sky colors, autumn tints, winter blues, springgrays, summer greens—all phases of color. Andthese not for themselves alone, but rather forthe impression or effect that they produced.If he painted a moonlight, it was with a greatspread of silvery radiance, a hushed effect inthe trees, a still air, and the mystery of thingshalf seen; when he painted an</i><br><br><b>Note About Images</b><br></p>
<i>Please note that these images are extracted from scanned page images that may have been digitally enhanced for readability - coloration and appearance of these illustrations may not perfectly resemble the original work.</i>
Van Dyke, John Charles
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