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INNESS, GEORGE (1825-1894)
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See also:INNESS, See also:GEORGE (1825-1894) , See also:American landscape painter, was See also:born near See also:Newburgh, N.Y., on the 1st of May 1825. Before he was five years of See also:age his parents had moved to New See also:York and afterwards to See also:Newark, N.J., in which latter See also:city his boyhood was passed. He would not " take See also:education " at the See also:town See also:academy, nor was he a success as a greengrocer's boy. He had a strong See also:bent towards See also:art, and his parents finally placed him with a See also:drawing-See also:master named See also:Barker. At sixteen he went to New York to study See also:engraving, but soon returned to Newark, where he continued sketching and See also:painting after his own initiative. In 1843 he was again in New York, and is said to have passed a See also:month in Gignoux's studio. But he was too impetuous, too See also:independent in thought, to accept teaching; and, besides, the knowledge of his teachers must have been limited. Practically he was self-taught, and always remained a student. In 1851 he went to See also:Europe, and in See also:Italy got his first glimpse of real art. He was there two years, and imbibed some traditions of the classic landscape. In 18J4 he went to See also:France, and there studied the See also:Barbizon painters, whom he greatly admired, especially See also:Daubigny and See also: A See also:pastoral landscape near this town inspired the characteristic painting " The Medfield Meadows." Again he went abroad and spent six years in Europe. He came back to New York in 1876, and lived there, or near there, until the See also:year of his See also:death, which took See also:place at See also:Bridge of See also:Allan on the 3rd of See also:August 1894 while he was travelling in See also:Scotland. He was a See also:National Academician, a member of the Society of American Artists, and had received many honours at See also:home and abroad. He was married twice, his son, George Inness (b. 1854), being also a painter. Inness was emphatically a See also:man of temperament, of moods, enthusiasms, convictions. He was fond of See also:speculation and experiment in See also:metaphysics and See also:religion, as in See also:poetry and art. Swedenborgianism, symbolism, See also:socialism, appealed to him as they might to a mystic or an idealist. He aspired to the perfect unities, and was impatient of structural See also:foundations. This was xiv. 19his attitude towards painting. He sought the sentiment, the See also:light, See also:air, and See also:colour of nature, but was put out by nature's forms. How to subordinate See also:form without causing weakness was his problem, as it was See also:Corot's. His See also:early education gave him no See also:great technical facility, so that he never was satisfied with his achievement. He worked over his pictures incessantly, retouching with paint, See also:pencil, See also:coal, See also:ink—anything that would give the desired effect—yet never content with them. In his latter days it was almost impossible to get a picture away from him, and after his death his studio was found to be full of experimental canvases. He was a very uneven painter, and his experiments were not always successful. His was an See also:original—a distinctly American—mind in art.. Most of his American subjects were taken from New York See also:state, New See also:Jersey and New See also:England. His point of view was his own. At his best he was often excellent in poetic sentiment, and superb in light, air and colour. He had several styles: at first he was somewhat grandiloquent in See also:Roman scenes, but sombre in colour; then under See also:French See also:influence his See also:brush See also:grew looser, as in the " See also:Grey Lowering See also:Day "; finally he See also:broke out in full colour and light, as in the " See also:Niagara " and the last " See also:Delaware See also:Water-See also:Gap." Some of his pictures are in American museums, but most of them are in private hands. (J. C. Additional information and CommentsThere are no comments yet for this article.
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