Deep River High School - This Year Yearbook (Deep River, CT)

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..-....,:.........-............,............- ,, .,,,, H... ,.... ,.,.. .... -.-...,,.-..,, ...... .,,....,,.. . , ..,..,...,A... -.. ,.,. , ,... ...,.,......., . v. ,.. .. , ,... ,. . , ,, , ,.. , , .. ,. . .x -, ,A .,l F .5 . V Xi ception of a painter was to be an historian in paint and his works will illustrate his ideas. Among his most famous are HThe Battle of Bunker Hilln, HSurrender of Cornwallisn, and the HDeath of Montgomery.n It has been said that not a history book would be complete without Trumbull's paintings on the Revolutionary War. In the story of American landscape painting we meet George Inness, who was a pathfinder whose originality and zeal for nature bIazgd a trail that has led on to the present notable expan- sion of American landscape painting Inne s tried his hand at engraving, for at that time it the one branch of art that se med most likely to yield a com fortable livelihood But it proved of to exacting a nature for him and becau e he wanted to continue his artistic tendencie sought French abroad French had to diverge from in the rest of his career and C6 cause he applied his owr public reoo, him at l and aim of I are be t undfr stood from his own writings In one place he says, HThe puroose of the painter simply to produce in which a scene h made upon him A work of art does not instruction fror painter here and It was from tnis influence th t h ttributes nition came The spirit ness' work does not appeal to the moral sense I s air is not o instruct, not to edify, but to awaken an emotion As we climb another rung N ' sl nh 'Ku ' 1' A -.1 -. A Q X. 1 on the ladder of American painting we come to what is known as the independent painter and James McNeill Whistler probably the most famous of the group proves an interesting example. More has been written about him than any other American Artist for he was great and he was unusual, two factors of vital importance in se- curing and holding atten- tion through the years. One item of interest in his early manhood is recounted when Whistler entered West Point He changed his mid dle name from Abbot to Mc- Neill, which was his moth- er maiden because he fear- ed that the initials J A W combined with his re dy ard often biting speech, would gain for h rever live tine a e distasteful because of tere t ir im a nickname he down The rou t Toint seemed to Whistler and his lack of in studies except drawing he was discharged In reviewing the art of Whistler we can easily re cognize that he worked in many mediums and excelled in all His etching rank t t Rembr ndt's his l nd cape paintings are unique, and his portraits .mong them 'Whistlers Moth er , and HMlSS Alexand rank with the best por trai s by the old m sters It is ap ropriate therefore he should receive his greatest recognition from the country that gave him after long indifference is now proul to cl im and hon or him Shortly after the era of Whistler the American pub '. -. ,f I . 0 I a ' . fs ' ' s ' , , . . ' . . X was ' ' ' 5 i X! S - ' ' 0' . . 1 , . -,f ' ' ' ' ' t L s f ' A ' 's ' ' z ' ' ' s he 3 'i ' p . S , v, ix 0 Y . . . ' s a ie ' t ' H . . T 1, X 1 0 -' ' K . rj I -u . S I L next o a ' 3 9 ' ' A T' a as f ' ' ' I ' ' to 7 ast. ' 3 n . rl- 2 ' . . - S .J H I 8 I' N V' if . I . 1 0 . .- ' 1 ' L f- U CA. s, Q 1 , ' 1S ' Q ' 4 as . A . ' ' 'E appeal to the intellect. It bipth----the Country Whichw l D I Ax- . t n J. ' t Q gt ' - . ' . . .E 1 4. all . , - . . - 'lf' ,- . ' , .- -.,. D, ' I - 1 , X4 , if A- Ni -I 4-AA H f '-t V F .gh I -. , A 1- V V I X -g-

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I i -,.-,-,. ,. .X HANERICA PAINT Painting, Uthe Queen of the Fine Artsn, had 2 most humble beginning on Amer- 1ca's 'bores klthourh lt has been noted nr t n ea ly French cololy h d profe SIOHH1 arti t to po .',1 'if activltie lt seems that the first ccds of AMCFICQD painting were sown ln the middle p rt of the ClQh+ tecnth century, wh t could be c llod the colon l period As 1 new natlor 18 born comblnatlon of patriotic on roy and rugged indlvidu llsm produces harvest of n tlonll development But n our c 15 x s not lncludc an 1NmCdl1CC QCVC1 opment of the art of p lnt lhg Mcn's mlnds :ere turned to more vlt l thin than rt and the only con ctbtlon held of p lD+lU tr t of produclng portr 1 The flnc rts h d much to overcome 1D AmCP1CW flr t came lndlffcrence n h oplo tion, for the Pdflf r nd Quaker thouvht p 1r+lrL frlvolous nd u l bat Q c sclf m p O Q u c me the f1r t D tron dclphl d Bo ton qulckly lndentlflcd c n tcr of c rly boginn n of Amcric n p intlno In the colonial ptr such SCTttCP1D s of tr dl tlon rel trd to pdlntlng h d barn d rlvtd f om g lish portr lt palntlngs f Reynolds G insborourh xho xcrted the rc test lH fluence ox our rlv pdln cr but ln f t merits ors s 1 P lo of the mod f tholr pr d 7 I-JIS. ' 1 , w ,-x f. 'l-' 'w -t . -sll ,f ,f X. IICTUREH Copley that Americans first took a recognized position in the world of art Although West llved most hls life in England he nel ftheles' had an indl- rect influence on hls coun r nen for hlS uccets n sid' 1 young 8't1StS and 's 3'-1 'ance was bener ously glVPH o American student who found their nay to London Nest's contemoorary John Slngleton Conley, however remalns a vltal factor ln the story f Amerlcan palntlng Copley carrled on the work of his prede cessors and perfected tF61P style to such a degree that he 1S remembered as one of the mllestones ln Amerlcan palnting With the beginnlngs of political unrest between Enbland and the colonies the develonment of palnting stood it a standstlll and the only memorable palnter of he perlod was Charle Uwlson Ieale de not only founded the first art chool called he Pennsyl VQDIH academy of fine arts ln the Un ted States Amerlca After peace had been re stored txo contempolaries alned recognltlon, they xere Gilbert Stuart and John Trumbull both of whom were tu ent of We t London stuart palnted many fine portralts and one that wlll llve 1D hlsto V ln H1 nk lenaeumnthe thl and la t OPlglH81 nortralt of Hashlngton Trumbull's hvghe t con O . . , 4. IJ 4 u l I ,Q 1' L LE. C. In 'K O4 . 'O . 'l l Q G S ' , Y fag' ,, 5, ' ' ' t 's rtivwy 1 L , V J ' - H ' S, ' A F t yas , r ' s s i - . S' llcef f . - ' . ' 1 I 1 hi ms: s- s - . X Z1 , . J' ' J t or ' a e s ' . a -N 12 lk , Y V1 1 ' .1 4 f - A ' I .L . , . D , ' - : A . . . t. . 1. 5 . , -C 6. Q ' I Q A ' fn . A V ' ' fi C . , . . . 7 0 , ,- I' . f L1 L, ' l U C ' - ' .. l use th .v to W 1 1' . , . . .X A ' L V ...' N r- ' , ' A . L Lx I ' ' ,, - . . , 'N v , I A l ' .,: ro . ,. . 51,0 V A . ., TL 4 4 ' .F ' 5 . - , E. ., f' WELS . ,.L L21 V '11 L13 . Q' , , ' rw f' , . ' V, - M , A . 0 Q ,I , - . - tg s g . . , Y , X t ' Q d t en , ' . . 'ff Sl ' ' oft .S CL ' ' ,S fx . f- 1 r' ' ' lr' ' ' Q 1 ' 1 et .J U . . .U 3 -0 5 I . SQ SC 535 ' 1 ' V, L, f . , -- 1 V- t1l:S - , stu e c ill tt 5 . a 3, , - . . Q 1 s -Q t .s of C ' . T.. -, n Av 'I 1-.. 1 ' E1I't3 in AI!1E,I'1Cf1 ,..l'1'I1 xnll- but adbgg 1:1153 flpgt mugeum ' rv. , Q an s A wtri ' t, io, of . . . . , ' HS Lam- Q , ' , , 5 11 'i gs . f . - . .. , C fl . 'J A ' , . , 1od 5 ' ' ' , V . ' f? 9 . Q rr , , Q . ,, . rn m . . V mu J 4. J L - , .A - X ' , . x A A Q, C , , P X Eng- 5 d 3 ',3 in . . . U , fl ., -5 O . . , and n 5 C , , K , , . . . . . V x, 'X gg 'fx U ' ' vo - , T. . f s ' 4- ' ' ' 1 Qi. U Q Lf A . S g C '1 A . . S 5 O L, c A t 6 r S r Q -R 'L 5 5 . , ,S . ' O , L L- ' ,' 3 , ' - ,. cess it wa w t, Jtst and , Q 3 - r , .,q' , ,H v,-. , up r f 1 by ., , . K, f A , tx t . .. I -, , x. - -

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.Q t il ...I . A ,- .gk . V 1, X. .N lx. x lic became interested in mural paintings and illus- itrations and we now come to the early twentieth century painters. Figure and por- ftrait painting seemed to I, x fade during this period and probably the most important treason was the camera. It had by this time reached a fair degree of perfection and people did not care to make from. ten to twenty sittings have their pic tures when they could oo tain them by photography with one an so a new fphase is ushered in to the ,f American public, mural p inting and illustrations, and th t is how we come to Hofard Pyle, the most not ed general illustrator of the day Pyle was loved by the American people because of his hundreds of illus trations which they could understand Pyle first started his art training by writing short storie and illustr ting them dur ing h s Hoff hours They became so popular th t he soon gave up his other bus ines nd dcvoied his whole time to Jriting and p int ing Pyle also vainted murals of distinct merit, and many of these are new located in the Wilmington Institute Libr ry special gallery devoted to his xerks American art is Rockwell Kent who s a schoolboy was a real trial to his teach fers He was not bad but simply had too strong mind of his own nd as a result he w s always at the 1 foot of his class Later as a student of architect . 1 f '. f .,c - n eoo c ,oy,ocooeooe ooo o,co c do X ure at Columbia his stand- , 1 ings were so high that hisji family realized his intel-.i ligence. He soon tired of architecture and as a di- rect outcome he started tdf study painting. Bleak places and sdlitude far away from the haunts of man have always held a fascin- ation for him and his trav- eling naturn carried him tel far and distant places where he retained his mem cries on canvas Kent us- ually visualizes an entire theme before he puts stroke on canvas his paintings have that re alistic spect bout them Mr Kent always had dre ms of going around the world ture more the time most little cr ft to pic still stranger and desolate places been s id t at rt portrays the and this seems the logical nswer for our l test phase of p inting c llcd surre lism This type of painting proves confusing, but it is prob ably the rtists only may of relieveing the tension th t his enveloped all of us during the past decade And row in sumring up Amer ican P inting we find have come a long way since the fir t portr it painters of he coloni 1 period Although our painting has to time by the art of other countries we re new quite individu l and one can truly say HAMGFIC Paints A Picture As arts reflect the spirit of the times so does the youth of a n tion re Continued on page 25 :Y ' f 'f 1 X f I 1 . . S d af 1 and all f ' ' ., 3 Q f ' ' a a . - ' ' , . r C ,- V I - 1 I . ,xi . . . . . 'ln an in a a . -f if . ' . rx , f ' 1 A4 . 0 J? V3 a , ' It has , a h pf ff ' Ha ' 3 . . '- S A ' Q1 su- . ' . . c. EL ' ff ' -S a L - a' ' -- 3 . nfl 5 Q ' ' ' I n 5 . 1 H M. , . Xf ,W . A L a ' ' ' -Q , I ' a ' We H S , , ' c 1 u U ! 't'1 v ' ' Ya' - .,. 5 O 1 f L F C K 5 v 1 A ' ' . Q .V J. 7 D 1 . V .F . . 0 ,-. S' H -J . a in a 3 - Q- ' ! -fl l V t . Q 1 . . . H It it Tve arCh'adv?nturer in been influenced from time!! 1 -'I 1 . 1 f ' fi ' I 0 H , - , Q . , 3 , I . . . Q . . A , r 0 ' e X . L '. F 1 . . 3 n. z 'g a fl Z1 'r' XX . I Q ' .. -, .-4-' - A- ,-v, -, .--.. A VV .- l A .V lv 4 I., A Q! .F -I I wifi..-'fd ,,... -,.. ,. ..., . .. :1-1 .,-...., , ,... ,-,.. . , 'TE , . ..., . , affix .. . . .. 'A .. -o,