sufficient for their needs if only they could fully express the emotions with which it inspired them. The two schools are anything but rigidly separated. The idealists made careful studies from nature, and the realists attempted excursions into allegory or scenic beauty; but the fundamental difference of the point of view is sufficiently marked.

The two founders of our landscape schools are typical examples of the two temperaments. Thomas Cole, born abroad, with much of the sentimentality of Europe of that time, was a dreamer, sensitive, shy, living in his visions.

THE TRUTH AND FEELING OF DURAND’S ART

ASHER B. DURAND

Asher B. Durand, on the contrary, was of sturdy Huguenot stock, one of the many children of a farmer who cultivated his land on Orange Mountain, but whose ingenuity made him also a watchmaker, silversmith, and skilled mechanic generally. His son, after some boyish efforts at engraving, was apprenticed to that trade, and rapidly became by far the best engraver in the country, both prosperous and skilful. His masterpiece is the “Declaration of Independence,” which holds its own today as a most creditable production. He was still an engraver when Cole came to New York, and was one of the first to encourage him and buy his pictures. At this time Durand, though an older man by some five years than Cole, had not yet begun to paint. When he did some ten years later, in 1835, his first productions were portrait heads admirable in their delicate draftsmanship and sure, fine characterization; but he soon abandoned these for landscape, and for the latter part of his long life devoted himself entirely to it.

IN THE WOODS, BY ASHER B. DURAND

Durand’s landscapes, like his portraits, showed his training as an engraver in their accurate and minute drawing. Contrary to the general practice of the time, he painted many of his large canvases out of doors in face of nature. His love for nature, combined with his training as an engraver, probably accounts for his almost invariable choice of full midsummer daylight for his pictures, when vegetation was at its fullest and all its details could be minutely seen. Yet, for all his love of detail, he does not lose unity, and the color is true to the soft, warm haze of summer, and the shadows keep their local atmosphere.

Metropolitan Museum of Art

A GLIMPSE OF THE SEA, BY A. H. WYANT

THE HUDSON RIVER SCHOOL

Durand’s landscapes were popular, and there grew up about him a school of painters treating nature much as he did. They loved the country that they visited in their summer excursions, and like him they painted Lake George, the White Mountains, the Hudson, and so there grew up what has been called the Hudson River School. Durand was old when he began painting, and his followers were of a younger generation. Kensett was probably the best of them. He worked less from nature than Durand; his detail has none of Durand’s tranquil thoroughness, and his shadows are apt to be rendered by a facile generalization of brown. However, he made a decided advance over the older master in representing all aspects of nature, all seasons and all times of day, with a special leaning toward sunsets.

A. H. WYANT

Of the others of the school there