File:The Frozen River, by Edward Willis Redfield.jpg

Identifier: internationalstu75newy (find matches)
Title: International studio
Year: 1897 (1890s)
Authors:
Subjects: Art Decoration and ornament
Publisher: New York
Contributing Library: Robarts - University of Toronto
Digitizing Sponsor: University of Toronto

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rn the streams to raging, tumbling torrents, and more detail, giving a fuller impression of that tear down upon his home. Many times they nature. He found that the first step was the flood into his house, and once the waters floated relation of the ground to the sky, which often the dining room table eight feet over the floor, practically resulted in two flat masses. He was The Redfield family waited and watched to see working for a complete impression in one sitting, if their home would go on a journey to the sea. and it has really taken twenty years to do it. He Looking down from the upper gallery they saw wants to portray nature, and as one day is so a mouse on a cracker can, hungry and worried, very different from another in atmosphere and floating about with the table. It is typical of Red- light, it has been his effort to record that actual field that he went out after the mouse and said, day, rather than some impression that might AUGUST 1922 Jour hundred seven mceRnAcionAL V A
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4*^r»A>*.i» evolve in the studio. So you will find some of his paintings named after a day, March First, March Second, or The Day Before Christmas. They arc in reality portraits of days. There is a strange hostility about Redfield.He will light the winters hardest weather, andstruggle through the deepest drifts to paint.When the fever is on, its mighty hard for anyonenear him. He will say to his friends, Sure, comeup to the place, but you know the snow is on theground and I am painting. Wise folks do notvisit Redfield then, nor do they go when spring issurging over the land, and the fruit trees haveburst out in all their glory. THE FROZEN RIVERBY EDWARD W. REDFIELD say Blank paints them by thefireside. Redfield does not believein the manufactured picture. There is no greaterguide than nature. Those who paint the academic,the accepted design, whose art is no more than aformula, are not of his God. They moved to Pittsburgh one winter (1919),with the five children. They had no furni

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