See also:

• GEORGE
• GEORGE, 8TH MARQUESS OF TWEEDDALE (1787-1876)
• GEORGE, HENRY (1839—1897)
• GEORGE, LAKE
• GEORGE, SAINT (d. 303)

GEORGE See also:

• GEORGE INNESS (1825-1894)

INNESS (1825-1894)  , See also:

• AMERICAN

American landscape painter, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born near See also:

• NEWBURGH
• NEWBURGH, or NEWBURG

Newburgh, N.Y., on the 1st of May 1825 . Before he was five years of See also:

• AGE (Fr. age, through late Lat. aetaticum, from aetas)

age his parents had moved to New See also:

• YORK
• YORK (HOUSE OF)
• YORK, EDMUND OF LANGLEY, DUKE OF (1341-1402)
• YORK, EDWARD
• YORK, FREDERICK AUGUSTUS, DUKE OF (1763-1827)
• YORK, RICHARD, DUKE

York and afterwards to See also:

• NEWARK
• NEWARK (NEWARK-UPON-TRENT)
• NEWARK, DAVID LESLIE, LORD (1601-1682)

Newark, N.J., in which latter See also:

• CITY (through Fr. cite, from Lat. civitas)

city his boyhood was passed . He would not " take See also:

• EDUCATION

education " at the See also:

• TOWN

town See also:

• ACADEMY, GREEK
• ACADEMY, ROYAL

academy, nor was he a success as a greengrocer's boy . He had a strong See also:

• BENT
• BENT (E1. BENI)
• BENT, JAMES THEODORE (1852–1897)

bent towards See also:

• ART

art, and his parents finally placed him with a See also:

• DRAWING

drawing-See also:

• MASTER (Lat. magister, related to tnagis, more, as the corresponding minister is to minus, less; the English form is due partly to the O. Eng. maegister, and partly to O. Fr. maistre, mod. maitre; cf. Du. meester, Ger. Meister, Ital. maestro)

master named See also:

• BARKER, EDMUND HENRY (1788–1839)

Barker . At sixteen he went to New York to study See also:

• ENGRAVING

engraving, but soon returned to Newark, where he continued sketching and See also:

• PAINTING

painting after his own initiative . In 1843 he was again in New York, and is said to have passed a See also:

• MONTH
• MONTH (a common Teutonic word, cf. Ger. Mond, Du. maand, Dan. maaned, &c., and cognate with Lat. mensis, Gr. µi7v, &c., in other branches of the Indo-Germanic family; all ultimately from the root seen in the word for the moon in nearly all those languages

month in Gignoux's studio . But he was too impetuous, too See also:

• INDEPENDENT

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

Europe, and in See also:

• ITALY
• ITALY (Italia)

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
• FRANCE, ANATOLE (1844– )

France, and there studied the See also:

• BARBIZON

Barbizon painters, whom he greatly admired, especially See also:

• DAUBIGNY, CHARLES FRANCOIS (1817–1878)

Daubigny and See also:

• ROUSSEAU, JACQUES (1633-1693)
• ROUSSEAU, JEAN BAPTISTE (1671-1741)
• ROUSSEAU, JEAN JACQUES (1712-1778)
• ROUSSEAU, PIERRE ETIENNE THEODORE (1812–1867); French painter of the Barbizon school, was born in Paris on the 15th of April 1812, of a bourgeois family which included one or two artists. At first he received a business training, but soon displayed aptitu

Rousseau . After his return to See also:

• AMERICA

America he opened a studio in New York, then went to Medfield, See also:

• MASS (O.E. maesse; Fr. messe; Ger. Messe; Ital. messa; from eccl. Lat. missa)
• MASS, IN

Mass., where he resided for five years .

A See also:

• PASTORAL (from Lat. pastor, a shepherd)

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

year of his See also:

• DEATH

death, which took See also:

• PLACE (through Fr. from Lat. platea, street; Gr. IrAar6s, wide)

place at See also:

• BRIDGE

Bridge of See also:

• ALLAN, DAVID (1744–1796)
• ALLAN, SIR HUGH (1810–1882)
• ALLAN, SIR WILLIAM (1782–1850)

Allan on the 3rd of See also:

• AUGUST (originally Sextilis)

August 1894 while he was travelling in See also:

• SCOTLAND
• SCOTLAND, CHURCH OF
• SCOTLAND, EPISCOPAL CHURCH OF

Scotland . He was a See also:

• NATIONAL

National Academician, a member of the Society of American Artists, and had received many honours at See also:

• HOME
• HOME, DANIEL DUNGLAS (1833-1886)
• HOME, EARLS OF

home and abroad . He was married twice, his son, See also:

• GEORGE
• GEORGE, 8TH MARQUESS OF TWEEDDALE (1787-1876)
• GEORGE, HENRY (1839—1897)
• GEORGE, LAKE
• GEORGE, SAINT (d. 303)

George See also:

• INNESS, GEORGE (1825-1894)

Inness (b . 1854), being also a painter . Inness was emphatically a See also:

• MAN
• MAN, ISLE OF (anc. Mona)

man of temperament, of moods, enthusiasms, convictions . He was fond of See also:

• SPECULATION

speculation and experiment in See also:

• METAPHYSICS
• METAPHYSICS, or METAPHYSIC (from Gr. /sera, after, d v med, things of nature, lots, i.e. the natural universe)

metaphysics and See also:

• RELIGION
• RELIGION, FOLKLORE, CUSTOM

religion, as in See also:

• POETRY

poetry and art . Swedenborgianism, symbolism, See also:

• SOCIALISM

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

foundations . This was xiv . 19his attitude towards painting . He sought the sentiment, the See also:

• LIGHT

light, See also:

• AIR (from an Indo-European root meaning " breathe," " blow ")
• AIR, or ASBEN

air, and See also:

• COLOUR (Lat. color, connected with celare, to hide, the root meaning, therefore, being that of a covering)

colour of nature, but was put out by nature's forms .

How to subordinate See also:

• FORM (Lat. forma)

form without causing weakness was his problem, as it was See also:

• COROT

Corot's . His See also:

• EARLY
• EARLY, JUBAL ANDERSON (1816-1894)

early education gave him no See also:

• GREAT

great technical facility, so that he never was satisfied with his achievement . He worked over his pictures incessantly, retouching with paint, See also:

• PENCIL (Lat. penicillus, brush, literally little tail)

pencil, See also:

• COAL

coal, See also:

• INK (from Late Lat. encaustum, Gr. gysavorov, the purple ink used by Greek and Roman emperors, from iyKaiew, to burn in)

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

original—a distinctly American—mind in art .. Most of his American subjects were taken from New York See also:

• STATE
• STATE, GREAT OFFICERS OF

state, New See also:

• JERSEY
• JERSEY, EARLS OF

Jersey and New See also:

• ENGLAND
• ENGLAND, THE CHURCH OF

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

Roman scenes, but sombre in colour; then under See also:

• FRENCH
• FRENCH, DANIEL CHESTER (1850– )
• FRENCH, NICHOLAS (1604-1678)

French See also:

• INFLUENCE (Late Lat. influentia, from influere, to flow in)

influence his See also:

• BRUSH (from Fr. brosse, which, like the English word, means both the undergrowth of a wood and the instrument; if the word in both these meanings is ultimately the same, then the origin is from a bundle of brushwood used as a brush or broom, but this is h
• BRUSH, GEORGE DE FOREST (1855– )

brush See also:

• GREW, NEHEMIAH (1641-1712)

grew looser, as in the " See also:

• GREY, CHARLES GREY, 2ND EARL (1764-1845)
• GREY, HENRY GREY, 3RD EARL (1802-1894)
• GREY, LADY JANE (1537-1554)
• GREY, SIR EDWARD
• GREY, SIR GEORGE (1812–1898)

Grey Lowering See also:

• DAY (O. Eng. dreg, Ger. Tag; according to the New English Dictionary, " in no way related to the Lat. dies")
• DAY, JOHN (1574-1640?)
• DAY, THOMAS (1748-1789)

Day "; finally he See also:

• BROKE, or BROOKE, ARTHUR (d. 1563)
• BROKE, SIR PHILIP BOWES VERE, BART

broke out in full colour and light, as in the " See also:

• NIAGARA
• NIAGARA, FORT

Niagara " and the last " See also:

• DELAWARE

Delaware See also:

• WATER

Water-See also:

• GAP

Gap." Some of his pictures are in American museums, but most of them are in private hands . (J . C .