position in the field of American art. He is the painter par excellence,
without making any pretension at being anything else. The joy of putting
paint on canvas to suggest a relatively small number of things which
make up the great outdoor country, like skies, distance, land
foregrounds, is his chosen task. He is the most direct painter we have.
With a heavily loaded brush, without any regard for anything but
immediate effect, he expresses his landscapes candidly and convincingly.
He is plain-spoken, truthful, free from any trickery - as wholesome as
his subjects. His a la prima methods embody, to the professional man,
the highest principle of technical perfection, without falling into a
certain physical coarseness so much in evidence in most of our modern
work. His sense of design is keen, without being too apparent, and the
impression one gains from his works is that they are honest
transcriptions of nature by a strong, virile personality. Winter
subjects predominate in his pictures, and he expresses them probably
more convincingly than others - though his Autumn is marvelous in its
richness of colour, and in the two night effects of New York he shows
his acute power of observation in two totally different subjects. His
art is altogether most refreshing and free from all artificialities.

Gallery 87.

Duveneck.

Paradoxical as it may seem, Duveneck's art is carried by the same
painter-qualities found in Redfield. From his dark colour it is
self-evident that he belongs to an older German school - a school which
has been superseded in the affection of Americans by French methods. We
know relatively little, entirely too little, about the generous methods
of the best men of the Munich school, of which Duveneck is so