William Cullen Bryant

Asher B. Durand painted "Kindred spirits" a representation of William Cullen Bryant and his recently deceased friend, American painter, Thomas Cole, whose eulogy he had written.

I am writing about a poet and man of letters tonight William Cullen Bryant 1794-1878 rather than a painter, but I think an artist should have some cultural perspective , thus it falls within my purview ( and also it IS my blog and I have the tiller).

Written in 1813 the poem Thanatopsis was found in a drawer by his gather and submitted to an poetry review by his father. Bryant was about 19 when he wrote it. The poem was to be his best known and he went on to become an important poet.

After a short carreer as a lawyer which he disliked, Bryant became an editor of New York newspoapers and settled at the New York Evening Post for fifty years. From that position he helped Abraham Lincolns campaign and worked to get central park built. Her was also influential in the creation of the Metropolitan Museum of Art.

Bryan fell on the steps of his New York brownstone after attending a political rally and died from striking his head.

My interest in Bryant dates from my college days when I discovered his poem Thanatopsis. I have always found it haunting and beautiful. Thanatopsis means mediation on death.

Thanatopsis

To him who in the love of Nature holds
Communion with her visible forms, she speaks
A various language; for his gayer hours
She has a voice of gladness, and a smile
And eloquence of beauty, and she glides
Into his darker musings, with a mild
And healing sympathy, that steals away
Their sharpness, ere he is aware. When thoughts
Of the last bitter hour come like a blight
Over thy spirit, and sad images
Of the stern agony, and shroud, and pall,
And breathless darkness, and the narrow house,
Make thee to shudder and grow sick at heart;--
Go forth, under the open sky, and list
To Nature's teachings, while from all around--
Earth and her waters, and the depths of air--
Comes a still voice:--

Yet a few days, and thee
The all-beholding sun shall see no more
In all his course; nor yet in the cold ground
Where thy pale form was laid with many tears,
Nor in the embrace of ocean, shall exist
Thy image. Earth, that nourished thee, shall claim
Thy growth, to be resolved to earth again,
And, lost each human trace, surrendering up
Thine individual being, shalt thou go
To mix forever with the elements,
To be a brother to the insensible rock
And to the sluggish clod, which the rude swain
Turns with his share, and treads upon. The oak
Shall send his roots abroad, and pierce thy mould.

Yet not to thine eternal resting place
Shalt thou retire alone, nor couldst thou wish
Couch more magnificent. Thou shalt lie down
With patriarchs of the infant world--with kings,
The powerful of the earth--the wise, the good,
Fair forms, and hoary seers of ages past,
All in one mighty sepulchre. The hills
Rock-ribbed and ancient as the sun,--the vales
Stretching in pensive quietness between;
The venerable woods--rivers that move
In majesty, and the complaining brooks
That make the meadows green; and, poured round all,
Old Ocean's gray and melancholy waste,--
Are but the solemn decorations all
Of the great tomb of man. The golden sun,
The planets, all the infinite host of heaven,
Are shining on the sad abodes of death
Through the still lapse of ages. All that tread
The globe are but a handful to the tribes
That slumber in its bosom.--Take the wings
Of morning, pierce the Barcan wilderness,

Or lose thyself in the continuous woods
Where rolls the Oregon, and hears no sound,
Save his own dashing--yet the dead are there;
And millions in those solitudes, since first
The flight of years began, have laid them down
In their last sleep--the dead reign there alone.
So shalt thou rest, and what if thou withdraw
In silence from the living, and no friend
Take note of thy departure? All that breathe
Will share thy destiny. The gay will laugh
When thou art gone, the solemn brood of care
Plod on, and each one as before will chase
His favorite phantom; yet all these shall leave
Their mirth and their employments, and shall come
And make their bed with thee. As the long train
Of ages glides away, the sons of men--
The youth in life's green spring, and he who goes
In the full strength of years, matron and maid,
The speechless babe, and the grayheaded man--
Shall one by one be gathered to thy side,
By those who in their turn shall follow them.

So live, that when thy summons comes to join
The innumerable caravan, which moves
To that mysterious realm, where each shall take
His chamber in the silent halls of death,
Thou go not, like the quarry-slave at night,
Scourged to his dungeon, but, sustained and soothed
By an unfaltering trust, approach thy grave
Like one who wraps the drapery of his couch
About him, and lies down to pleasant dreams.

Incidentally I am going into some isolated country tomorrow and I may have trouble getting on the internet. I will do my best, but if I go dark for a day or more, I apologize.

Some observations on the design of an Inness

image from artrenewal.org

The dark foreground makes the middle ground seem bright and gets you out into the image.
The horizon is an example of Inness setting the horizon at a mid value. I spoke about that last night.The greens in the painting are offset by the russet tones Iness used in the tree on the right.

Below is a diagram of the general movement implied in the painting.

Over and over Inness places light shapes in front of dark ones and vice versa, I have referred to this as value stacking for lack of a better name. Notice how he has done that with the limbs of the tree at the upper right and the little white tree trunk enlivening the passage of dark at three o'clock.

Notice the cool little trick Inness has used above. He has echoed the odd shape of a tree top in the clouds next to it.

Here is another cool little move, notice how Inness cuts a hole through the large mass of the trees on both sides. There is a concealed symmetry there. None of this happened in some actual view that he copied in front of him, all of this is invented in the studio.

Here is another one of those deliberately resonant shapes he throws into his paintings. The relationships of these echoing shapes are pleasing to the viewer even if they are unnoticed at a conscious level.

Here is the painting simplified in photoshop to it's big lights and darks. As I have pointed out so many times there is really one big dark. If you put your finger on the darks you will find you can trace them all the way around the painting without lifting your finger. This is value simplification.













On the right you see the image with all of the bright accents removed. You can see what they do to enliven the painting. The accents make this painting pop. They also balance he painting by arresting the eye briefly here and there and give interest to areas that would otherwise be too plain.

Horizon value

George Inness

Hi, Stape,
YES, Carlson is definitely hard going! I am having to read tons of paragraphs several times before they click, and I see I will need to refer back to it many times. However, the information is SO GREAT. This question below is the first thing I really couldn't grasp so far, and I'm about half way through.

I'm a bit confused by the "darkening of lightest sky at horizon line" since I don't see it in real life and most paintings I see seem to lighten until darker horizon. I'll be on the look out for examples, and from what you're saying, it's not essential to darken sky at horizon correct?
.................Myrtle Durgin,


Myrtle;

Carlson's book is a must read. It is the landscape painters bible. But it does take a lot of work and study to decipher it. The language is archaic, the writers learned English later in life and the vast information is compressed.

It is not essential to darken the sky at the horizon, nature reveals both. However sometimes you may choose to. The greatest contrast in a landscape is often at this point. You want to choose where you want that greatest contrast not have it imposed upon you. As that contrast is an eye grabber you need to be careful about that.

If you are putting that contrast at the horizon line in every picture, you may want ton darken that juncture so as to downplay it in some paintings. Otherwise you may find you have a whole show full of pictures with the greatest contrast in exactly the same place. The point here is that YOU decide what the picture looks like, NOT NATURE.

Inness posited that the best value for the horizon sky was the middle tone of the painting, that is, half the tones of the painting would be brighter and half darker. I don't know that he always took his own advice. It is a nice way to set up a painting though. I hope that answered your question.
.........................Stape

Stupid design ideas 2

Encyclopedia of Dumb Design Ideas

Here are better graphics for the road post I did yesterday. Above is the road jammed up against the edge of the canvas. As you can see it is an annoying distraction. The eye follows it and is directed nowhere.

Above is the road again, leading the viewer into the painting and to it's subject matter. Of course there are a lot of variations on this design , but the idea is not to dump the viewer into the side of the painting.

This road is whats called a LEADING LINE. A leading line is the main line of a design that leads you through the painting. Not all designs have them of course, but many do. There are few absolutes in the design game, but many examples of better and worse.

Above is a painting I made yesterday, its a 16 by 20. I will probably fool with it in the studio, but just to clean up a few edges and drop in a few highlights and a few accents.