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Excerpt from George Inness: The Man and His Art In addressing myself to this work, I encounter the difficulty of knowing j ust how corredtly those who have known a man may judge his work. This is a question yet open, and ever will be so long as human affecftions and beliefs hold sway over judgment. The personality is a powerful agent when in close communication, and time and distance each exert an influence, often forcs ing a change or readjustment of view ihmay there fore be open to criticism for overpraise, since it was my privilege to know Mr. Inness very well. Of the work of George Inness we can have neither too intimate nor too complete a knowl edge, for in his name the corner stone ofameri can landscape art rests. 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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George Inness (1825-94), long considered one of America's greatest landscape painters, has yet to receive his full due from scholars and critics. A complicated artist and thinker, Inness painted stunningly beautiful, evocative views of the American countryside. Less interested in representing the details of a particular place than in rendering the "subjective mystery of nature," Inness believed that capturing the spirit or essence of a natural scene could point to a reality beyond the physical or, as Inness put it, "the reality of the unseen." Throughout his career, Inness struggled to make visible what was invisible to the human eye by combining a deep interest in nineteenth-century scientific inquiry—including optics, psychology, physiology, and mathematics—with an idiosyncratic brand of mysticism. Rachael Ziady DeLue's George Inness and the Science of Landscape—the first in-depth examination of Inness's career to appear in several decades—demonstrates how the artistic, spiritual, and scientific aspects of Inness's art found expression in his masterful landscapes. In fact, Inness's practice was not merely shaped by his preoccupation with the nature and limits of human perception; he conceived of his labor as a science in its own right. This lavishly illustrated work reveals Inness as profoundly invested in the science and philosophy of his time and illuminates the complex manner in which the fields of art and science intersected in nineteenth-century America. Long-awaited, this reevaluation of one of the major figures of nineteenth-century American art will prove to be a seminal text in the fields of art history and American studies.

LIFE, ART, AND LETTERS OF GEORGE INNESS BY GEORGE INNESS, Jr. ILLUSTRATED WITH PORTRAITS AND MANY REPRODUCTIONS OF PAINTINGS WITH AN INTRODUCTION BY ELLIOTT DAINGERFIBLD NEW YORK THE CENTURY CO. 1917 Copyright, 1917, by THE CENTCTRY Co. Published, October, 1917 GEORGE INNBSS Painted by Goorgo I DEDICATE THIS BOOK TO MY DEAR WIFE JULIA GOODRICH INNESS WHO HAS FILLED MY LIFE WITH HAPPINESS AND WHOSE HELP AND COUNSEL HAVE MADE THIS WORK POSSIBLE PREFACE What I would like to give you is George Inness as he was, as he talked, as he lived not what I saw in him or how I interpreted him, but him and hav ing given you all I can remember of what he said and did I want you to form your own opinion. My story shall be a simple rendering of facts as I remember them in other words, I will put the pig ment on the canvas and leave it to you to form the picture. INNESS, JE. ACKNOWLEDGMENTS I wish to acknowledge the courtesy of the follow ing persons and institutions who have been of great assistance in furnishing me with the material for this book Mrs, J. Scott Hartley, Mr. James W. Ells worth, Mr. Thomas B. Clarke, Mr. Victor Harris, Mr. Martin A. Byerson and Mr Ralph Cudney The Metropolitan Museum of Art and M. Knoedler Co., New York City, The Art Institute of Chicago. I wish also to make acknowledgment of the services of my friend, Leize R. Godwin, whose wise counsel has made the task of writing this book a pleasure INTRODUCTION Biography is always interesting when true, and valuable in the same degree. It takes on a new char acter when written by oneself in the form of mem oirs, yet is seldom fully successful, because of the hu man temptation to suppress real and interesting facts, or, whensufficient effrontery or courage if it be courage exists to tell everything, the reader is likely to be offended, even if interested. In this way the memoirs of Cellini might have been more valuable, though less interesting, if another had set down the truths of this mans inner life and char acter. It is almost, if not quite, impossible for one to analyze ones own soul and write out for public gaze the secrets hidden there. It shocks the sensitive spirit and creates a wound not to be borne therefore, as it seems to me, all biography treads the broad high way of external facts and passing events, leaving the deep, still pools, which reflect all the spiritual and emotional being, untroubled. In this condition of things we must be content with what we can get, being assured that whatever we can preserve of the life and XX INTRODUCTION impulses of a great man will be of value to the world. It does not follow that intimacy gives one the privi lege of interpretation, but at least it assures us a measure of truth, which increases its richness in the proportion of sympathy brought to the task, because sympathy begets insight. Without sympathy vir tually all observation is blind, and no one quality in mans nature is so potent in removing the scales from true vision. We do not know what we should have had if George Inness had written his own biography. Ec centric it certainly would have been, with slight at tention paid to those externals which are of interest to the general reader for he was the most impersonal of men. He was never interested in himself as a man, though he was interested in the artistic man He believed in himself as an artist very profoundly, and his mind, which was most alert, was ever ddv ing into or solving problems connected with what he called the principles of painting. Of this sort of thing we should have had a great deal, more indeed than any of us could have understood, because he was not always coherent. To himself his reasoning was very clear indeed, he valued the results of these men tal debates greatly, many times writing them down. What has become of these writings I do not know, but no doubt they were written in such a vagrant, Ks zii INTRODUCTION jointed way that they could not be pieced together by another...