This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1922 Excerpt: ...In particular he was the apostle of a certain system for setting the palette, which he explained with impressive detail. Notwithstanding his abhorrence of formulas, attainment seemed to depend on that formula for arranging color. When the class changed hands we heard less from Bellows about that particular color scale ...
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This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1922 Excerpt: ...In particular he was the apostle of a certain system for setting the palette, which he explained with impressive detail. Notwithstanding his abhorrence of formulas, attainment seemed to depend on that formula for arranging color. When the class changed hands we heard less from Bellows about that particular color scale (although upon inquiry he admitted its importance); instead of color technicalities he emitted at every pore theories of the universe, which lacked the grip of his painting. Robert Henri was a great man at the League: his admiring pupils hung upon his inspired word like grapes upon the parent stem. His brush work is bold; he is sure of himself, almost too surealthough he and the other modernists scorn formulas, every one of them has his own formula, and Henri most of all. His portraits have more of crisp certainty than Bellows', Bellows' work suggests a growing organism, Henri's brilliant crystallization. Of the two Bellows gets deeper beneath the surface, but neither of them quite reaches the depths where great Art has its source. Henri's portraits are splendid in vigor, verve and vivacity. Vl/'hat then do they lack?--the same quality which the work of Sloan and Bellows also lacks--something beautiful and intangible, --but, of the three, Bellows comes nearest to achieving it. Henri's painting is more convincing than his philosophy. He is a fluent mouthpiece of his own theories. According to him no real artist should let himself be shackled by his family, his nation or his race. He disclaims patriotism in "the narrow sense," ignoring what a role national consciousness has played in the history of art development both in the Orient and the Occident. He is down on the Puritan, yet the Puritan ground...
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