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(Stevenson and Margarita This book, "Stevenson and Margari...)
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This book was originally published prior to 1923, and represents a reproduction of an important historical work, maintaining the same format as the original work. While some publishers have opted to apply OCR (optical character recognition) technology to the process, we believe this leads to sub-optimal results (frequent typographical errors, strange characters and confusing formatting) and does not adequately preserve the historical character of the original artifact. We believe this work is culturally important in its original archival form. While we strive to adequately clean and digitally enhance the original work, there are occasionally instances where imperfections such as blurred or missing pages, poor pictures or errant marks may have been introduced due to either the quality of the original work or the scanning process itself. Despite these occasional imperfections, we have brought it back into print as part of our ongoing global book preservation commitment, providing customers with access to the best possible historical reprints. We appreciate your understanding of these occasional imperfections, and sincerely hope you enjoy seeing the book in a format as close as possible to that intended by the original publisher.
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(Excerpt from A Painter's Progress; Being a Partial Survey...)
Excerpt from A Painter's Progress; Being a Partial Survey Along the Pathway of Art in America and Europe With Sundry Examples and Precepts Culled From Personal Encounter With Existing Conditions and Reference to the Careers of Many Artists Both Ancient and Modern, 191 When one whose life from his earliest years has been devoted to art is called from the preoccupation Of active produc tion to prepare a series of lectures upon some theme connected with the history, theory, and practice Of the fine arts, the comprehensive programme - to say noth ing of the elasticity Of the catholic mind - suggests at once a score of subjects. The modern artist is the heir of the ages. Since the world began a certain type of man has been active with the desire to depict upon a plane surface, or to mould in some material, images of the life to. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
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Will Hicok Low was born in Albany, New York, United States, the son of Addison and Elvira (Steele) Low. He was one of the four of their ten children who survived beyond childhood. His father was trained as a cabinetmaker and later became a construction engineer.
Low was educated in France. He studied first at École des Beaux Arts at Paris, under Jean-Léon Gérôme and was later a pupil of Carolus-Duran. He remained in France five years and during this time met the painter Millet. Among his fellow-students was R. A. M. Stevenson, through whom he met and commenced a lifelong friendship with Robert Louis Stevenson.
Low made an early attempts at starting an artistic career about the time he was fifteen years old. This included the unsuccessful submission of drawings to various illustrated weeklies and the occasional sale locally of a watercolor. In 1870, when he was seventeen, he sold his first drawing, a snow scene, to the New York Independent and received fifty dollars for it. Encouraged by this, his family allowed him to go to New York in the winter of that year "with what remained to me of the sum received for my first accepted drawing".
In New York he remained for two years, supplying designs for engravers and occasionally to periodicals, such as Harper's Weekly. During this time he painted one picture which was hung in the Academy exhibition of 1872. Among his later paintings was "The Poet and the Muse, Robert Louis Stevenson at Fontainebleau, 1875, " based on a sketch from life, which was shown at the centennial exhibition of the National Academy of Design in 1927. He was one of the founders of the Society of American Artists in 1878; he had charge of the life class at Cooper Union, New York, from 1882 to 1885, as well as those in the National Academy of Design from 1889 to 1892, and he taught at the Art Institute of Chicago in 1902. He became an associate of the National Academy in 1880 and an academician in 1890.
In 1885 Low illustrated such volumes as the edition of Keats's Lamia which and the more brilliant decorations he made for an edition of the Odes & Sonnets which appeared in 1888. In all his larger decorations (and the list of them is an imposing one), his color schemes harmonized admirably with the marble or other materials by which they were surrounded, and his compositions echo the lines of the surrounding architecture. This is not to say that these decorations are merely static geometrical arrangements. There is restrained and orderly movement as well as interesting and inspiring subject matter, but neither the subject nor its treatment was allowed to exceed the proper bounds of mural decoration. Therefore, while in their proper focus as a part of an architectural scheme his decorations reached very nearly to perfection, they were overshadowed in the estimation of many of his contemporaries by the more dramatic but, from the functional point of view, much less successful work of such men as Abbey, Sargent, and others.
Among his more important paintings were the ceiling in the reception room of the old Waldorf-Astoria Hotel, 1892; panels in the music room of the Charles T. Yerkes residence, New York, 1896; twenty panels in the concert hall and ballroom of the Astoria Hotel, New York, 1897; a decorative panel in the Essex County Court House, Newark, New Jersey, 1907; mural decorations in the Luzerne County Court House, Wilkes-Barre, Pennsylvania, 1908; a series of thirty-two mural decorations for the rotunda of the New York State Education Building at Albany, which had for its theme "The Aspiration of Man and the Results of His Achievement"; and in 1915 a frieze in the Legislative Library, New York State Capitol, Albany. His war picture "Victory" was placed in Earle Hall, Columbia University. At the St. Louis Exposition in 1904 he was a member of the international jury of awards.
As a writer Low in 1908 published A Chronicle of Friendships, which deals with art and artists in the period from 1873 to 1900. Two years later he delivered the fifth annual series of Scammon Lectures at the Art Institute of Chicago, which were published as A Painter's Progress (1910). Although these are interesting, articulate, and accurate accounts of a period in transition, they are of primary importance as source books for that period, both in America and in France. In addition to these he wrote numerous articles which appeared in such publications as Scribner's, McClure's, Harper's, and many other magazines, in which his enthusiasm, the clarity of his argument, and the charming illustrations he included with the text did much to familiarize an important section of the American public with the so-called outdoor school of painting as practised by such men as Corot and Millet.
In A Painter's Progress Low tells of his education in public schools in Albany and of the development of his interest in art, of his first actual training, which consisted of rather casual advice and criticism given by the sculptor, Erastus Dow Palmer.
Will Low occupied a unique place in the development of art during his period. As a painter he was credited with being among the first to introduce in the United States the brighter and more accurate colors of the socalled open-air school. His greatest success was in decoration, whether at large scale as applied to the walls of public or private buildings or on the pages. In 1889 he was awarded a silver medal for drawing at the Paris Exposition. He also received medals at the World's Columbian Exposition in Chicago, 1893, and the Pan-American Exposition, Buffalo, 1901.
(Excerpt from A Painter's Progress; Being a Partial Survey...)
(This book was originally published prior to 1923, and rep...)
(This book was originally published prior to 1923, and rep...)
(Stevenson and Margarita This book, "Stevenson and Margari...)
( This work has been selected by scholars as being cultur...)
( This work has been selected by scholars as being cultur...)
( This work has been selected by scholars as being cultur...)
( This work has been selected by scholars as being cultur...)
(This is a reproduction of a book published before 1923. T...)
Low was a member of the National Society of Mural Painters and the National Institute of Arts and Letters.
Low was married in 1875 to Berthe Eugenie Marie Julienne of Paris. Following her death he was married on November 4, 1909, to Mary Louise (Fairchild) MacMonnies, former wife of Frederick MacMonnies.
