Book excerpt: This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1917 edition. Excerpt: ... CHAPTER XII THE AET OF GEOEGE INNESS IN the preceding chapters I have given you the life and letters of George Inness, and any attempt on my part to write of his art seems futile, as so much has already been written on the subject by pens far more facile than mine. As I read over the many articles that have been written on my father's art, his aims, his theories, and his color, so beautifully expressed by Mr. Daingerfield and others, I find that these so thoroughly record my own feelings and understanding that I feel constrained to stop. On the other hand, knowing my father so intimately, and living as I did for many years in the closest companionship with him, I feel that a review of his art would not go amiss here, and if I repeat the thoughts of those who have already written of Inness, I hope that I shall not be accused of plagiarism. George Inness was in the highest sense of the word a colorist. By color I do not mean the daubing of bright pigments on canvas, yards and yards of which can be found in our public exhibitions of to-day, color as expressed by our up-to-date painter, the one who scoffs at everything old fashioned. As my friend Thomas Moran said, "They seem to be trying to discover a new way to paint." It would be belittling art too much for me to dwell on the self-styled "Cubist" or "Futurist," as they have no more place in art than any other obscene degenerate. I mention them here only because the public crowded their exhibitions and men paid money for their disgusting display. George Inness never sought new ways to paint, he was ever striving to render nature as she is to one of pure thought and high ideals. He tried to interpret her, to tell the truth about her, to tell the world of her beauty, of her coquetry, and...