SUGGESTIONS FOR THE FORUM CLASSES Each member should thoroughly master the questions and all that lies between; they are only to aid a the mastery of the History of American Painting and Sculpture. Much would be gained if all the contemporary achievement in the fine arts might be taken in brief survey: the music, literature, painting, and sculpture of France, Germany, Italy, and England. Much that is biographical in American history would establish a knowledge of the background of the arts here such books as Thackeray's "Henry Esmond," and "The Virginians"; Cooper's Indian stories; Johnston's "To Have and To Hold"; and Mitchell's "Hugh Wynne"; Churchill's "Richard Carvel," and "The Crossing"; stories and the poetry of the Boston group of writers: Longfellow, Whittier, Lowell, Emerson, Thoreau, and Hawthorne. This might be done by having some one member appointed to review each phase of the allied subjects. II. 12. HOW MANY OF THESE CAN YOU ANSWER? Who were the first American landscapists? What line of artistic work had they followed before? How did it influence their production? How have they been regarded by critics? What is more nearly true of them? In which of the American museums are they best represented? What region did they paint most frequently? For what quality is their work most notable? 13. What French painter who had lived mostly in Italy influenced the Americans? What, if anything, did the American landscapists get from England? In what period were the Americans most prominent? How does the time compare with the English landscapes of Constable, Chrome, Bonnington, and Wilson ? 14. Who was the artist returning to America that brought European traditions and devoted himself largely to experimentation, study, and teaching? What kind of entertainment did he frequently give in his studio? Who was his most famous student? (1859.) 15. For what did La Farge become notable? Name some of his outstanding achievements. What new production did he make popular in America? 16. What was the influence of Dusseldorf upon American painting? What had made it an art centre? What type of painting did the Dusseldorf school popularize? 17. Name three American painters who painted "story-telling" pictures. Name several story-telling pictures and give the artist's name who painted them. What picture of this kind became well known at the Chicago World's Fair? Who painted it? 18. What was the character of the landscape painting of the Dusseldorf school? Who were the American landscapists influenced by Dusseldorf? What had been their previous training? What was the character of their work? 19. What tremendous incentive, taking years to accomplish, increased the interest and furnished a large part of the subject-matter of these painters? Who were the men that, following the trend, went far afield, and where did they go? 20. What place have these pictures with the art critic to-day? Why have they changed in importance according to the critic? Is it true? What about standards, are they stationary? What makes for progress in painting or any other art? EDITOR'S NOTE:-Much additional La Farge material appears in SCRIBNER'S MAGAZINE. Russell Sturgis wrote on the La Farge lunettes in the Minnesota capitol, vol. 37, p. 638. Mr. La Farge himsel wrote on "The American Academy at Rome," vol. 28, p. 253. He contributed many articles to the magazine, the last being "The Teaching of Art," vol. 49, p. 178. Two recent articles by Mr. Cortissoz fall in line with this set of questions. He discussed American landscape painters in April, 1925 (vol. 77, p. 441), and American mural painters the following month (vol. 77, p. 552). Two other articles of his amplify the answers to the first set of questions. He wrote on early American art in July, 1924 (vol. 76, p. 107), and on Gilbert Stuart in November, 1926. Democrats in 1928 by Frank Kent Obituary, Well Written! by Conrad Aiken The Hypocrisy of Football Reform Man's First Great Passion ENGINEERING General Offices Greenville CONSULTANTS Branches ON THE SOUT |