File:Josef Israels - Children of the Sea.jpg

Identifier: landscapefigurepai00sher (find matches)
Title: Landscape and figure painters of America
Year: 1917 (1910s)
Authors: Sherman, Frederic Fairchild, 1874-1940
Subjects: Landscape painting Figure painting
Publisher: New York : Privately printed
Contributing Library: Getty Research Institute
Digitizing Sponsor: Getty Research Institute

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generalizing, and exhibiting thestrongly subjective side of painting, are theiradditions to the art knowledge of the world.For these things they have given up much,but they held them to be all-important andwell worth what they cost. Following theseideas and developing them, they were able toaim at, and to secure, great freedom fromartificiality in their work, and to give to it astrongly suggestive element. A comparisonwith the work of other schools will show thatin these two matters the Dutch artists cer-tainly excel. Modern art cannot hope to surpass in per-fection of detail and finish, united with asmuch breadth as the treatment can possiblyallow, such works as those of Van Eyck,Raphael, Titian, and Holbein. Finely andminutely as they have finished their paintings,they yet in some marvellous way gain an effectof broad treatment, and with all their detailreveal the essence of the subject. There isno use in trying to rival this. It has beendone once for all in such a magnificent man-
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Plate XXI. — Children of the Sea. Jose) Israels. MODERN DUTCH ART Il9 ner that the world still wonders and admires.It was original and great work, but if anyonewere to try to paint like that now, it would beto ignore the compensations the modern painterhas in the advance in knowledge that art hasmade, and to produce at the best only copiesof the ideas and the styles of the past, whichwould be devoid of individuality, and froman artistic standpoint vain and useless. Modern artists must aim at something differ-ent from this. They realize that more knowl-edge as to the painting of air and atmosphereand effects of light has been gained and thatmany other matters are better understood, andthey feel that on certain lines they can get resultsdifferent from, and a degree of perfectiongreater than can be found in, the works of theirpredecessors. So we find that modern artistshave tried to give in a manner unthought ofin the past the very feeling of space in theirlandscapes by their new rende

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