MM_preloadImages('/site/template/assets/home_template_rhlove_472/images/home_on.gif','/site/template/assets/home_template_rhlove_472/images/artists_on.gif','/site/template/assets/home_template_rhlove_472/images/about_on.gif','/site/template/assets/home_template_rhlove_472/images/inventory_on.gif','/site/template/assets/home_template_rhlove_472/images/services_on.gif','/site/template/assets/home_template_rhlove_472/images/acquisitions_on.gif','/site/template/assets/home_template_rhlove_472/images/publications_on.gif','/site/template/assets/home_template_rhlove_472/images/contact_on.gif'); Inness, George Back to Artists Back to Tonalism About George Inness When James Thomas Flexner, American art historian emeritus, called George Inness the leader of "Native American Impressionism" (Mayor and Davis, 1977, p. xxiii), and declared that Inness and *Homer exhibited "Impressionistic practices" (Flexner, 1962, p. 243), he used the term loosely. Others, like Jackman (1928, p. 73) remark inaccurately that in Innesss late works "his technique became delightfully impressionistic." This may be true, only in the way that some landscapes in Pompeiian wall painting are "impressionistic." Wilmerding (1976, p. 153) noted in passing that superficially, Innesss work "approached French Impressionism, which he disdained. His landscapes were, by contrast, neither scientific, optical, nor transient, but rather shrouded in mist and mystery of an immaterial world." Highly critical of *Monet and French impressionism, Inness is usually associated with *tonalism, a movement that was regarded as the | |
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