Westchester Hills by Homer D Martin<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/n110/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/n110/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>uch as we see in the Honfleur Light or theCriqueboeuf Church of Martin. He revelledin these subdued tones of broken light. Theywere not only the eternal coloring of naturebut they were the means wherewith he ex-pressed his own sentiment or feeling aboutnature. Still other and not less universal features oflandscape to Martin were enveloping atmospherewhich bound all things together and made har-mony; space which lifted above the reach of theearth and was limitless; heave and bulge in themountain ranges with continuity in their inter-blended lines and massive strength in theirrock strata; a limitless expanse to the mountainforests; a splendid broken reflection from thesurface of river, pond, and pool. These featuresappear in such different pictures as the LakeChamplain, the Lake Sandford, the Adiron-dacks, the Normandy Farm, the MusselGatherers, the Haunted House, the West-chester Hills—this last, perhaps, the simplestand the best of all. A final characteristic of nature may be noted</i><br><b>Text Appearing After Image:</b><br><i>. B a -2 UOIMER AUIITIN 8ff because Martin seems to have known it well. Itappears in almost all of bis pictures, and is per-haps more pronounced with him than with anyother landscape-painter. I mean natures greatserenity. The word has been so carelessly used incriticism that one has difficulty in enforcing morethan a careless meaning for it, and yet whateverof serenity there may be in fretful civihzationor its art is merely a poor imitation of the eternalrepose of nature itself. By that I imply nothingvery profound. The mad plunges of Niagara, theexplosions of Cohma and Krakatoa, the inunda-tion of tidal waves, or the shakings of earth-quakes are mere accidents from which naturestraightway recovers. The winds, the storms, thegreat sea-waves again are only momentary inci-dents. After they have passed, nature once morereturns to herself. She is ruffled merely for amoment and then only in a small localized area.Her normal condition is repose—that immobilitywhich we associate with the r</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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<ul><li>Source book page: <a rel="nofollow" class="external free" href="https://archive.org/stream/ameng00vand/ameng00vand#page/n110/mode/1up">https://archive.org/stream/ameng00vand/ameng00vand#page/n110/mode/1up</a></li></ul>