Born in Manchester England July , father of 6,7 grandchildren and 3 great grandchildren. After leaving school at 14 years old I was able to get an apprenticeship as a Jig and Tool maker, at seventeen and a half, I enlisted in the army, in total including Volunteer Reserve I had 17 years service. After my Regular Army service I decided I did not want to work inside, unless as at times, I had no other choice. I worked mainly as a long distance truck driver or on Civil Engineering and Public Work contracts as a heavy plant operator, in England and Australia.
In Australia because our first 4 children were young, and I worked away from home for many months at a time, we decided we should buy a 55 seat coach bus , and convert it into a mobile home, which we did. During our travels around Australia we clocked up over 57, miles crossing the continent a number of times including the Barkly Tableland when there were no sealed road.
I drove semi-trailers and road-trains in every state on all groups license, except no road trains in NSW, where there seemed to be no real use for them, semis being able to cope. And the fact we never lived there, just spent time passing through. I was employed on the primary construction of most of the towns such as, Dampier, Paraburdoo, Karratha starting with the base rafts for the for the very first houses , also Tom Price, Mount Newman, Port Hedland, Dampier Salt, Hamersley Iron, and air-track driller on the Fortescue River, drilling and blasting, the foundations for a Rail and Service Bridge.
For a short time we lived in East Timor, until we were told we had to leave and go back to Australia. The reason being, I was requested to go to the Police headquarters in Dili a number of times, and was also picked up off the street twice, and taken there to answer question, about why we were living in a Chinese guest-house instead of living in the European areas. Our children played with the native children and swam off City Beach. So some idiot came to the conclusion I must be a commissar, they thought nothing of the young backpackers passing through the country living in shanty towns they had built on or near the upper end of the beach away from Dili centre.
But I guessed it was they didn't, or didn't want to understand how, what looked like a perfectly normal European family could be spending time with the natives. Not realising by their very suggestion, that the only kind of Europeans that would do such a thing, would have to be communist.
So, they were suggesting only communist could be anti-racist. There were still damaged Japanese landing-craft from the WW2, even in After arriving back in Australia we decided to return to the UK, and that is what we did. Back in the UK, I went back to work on Civil and Public work contracts for the same company I had worked for before going to Australia. When that company closed down in late , I decided to work self-employed in the Building Trade, I prepared the job contract and price, with a schedule of work included, work I could not carry out myself, with some men that worked on wages for me, I offered to qualified Building Trade workers as sub-contractors, in my wife and myself bought a cottage in Ireland, and went to live there.
We sold the cottage after 10 years, and returned to the UK. Are you an author? Help us improve our Author Pages by updating your bibliography and submitting a new or current image and biography. Learn more at Author Central. Two poles of Van Dyke's thought, science and aestheticism, are seen here as not necessarily in conflict. In at least implying that he believes life sprung from "an opalescent mucus" in the sea 24 , Van Dyke signals his acceptance of evolution 24, 26 ; yet this does not diminish the mystery with which he regards the oceans Lincoln's Reading and Modesty.
Century Magazine Contrary to the myth of the book-starved young Lincoln, Van Dyke asserts "there were plenty of books in Illinois in Lincoln's day" Although perhaps he would object to the word "plenty," Western historian Wallace Stegner generally seconds Van Dyke. In any case, both agree that Lincoln was a relatively well-read young man. The piece also reflects Van Dyke's pride in his family's association with Lincoln. Here, Van Dyke notes Lincoln memorabilia owned by the family and that rancher brother Theodore owned a Lincoln letter It likely went up in one of the several fires that plagued the isolated ranch.
New [page 40]. The Lotto Portrait of Columbus. Century Magazine 44 October : , Van Dyke rushed manfully and gleefully into public disputes over art. Here, while being "shot at," he argues for the authenticity of a portrait of Columbus, by Italian Renaissance painter Lorenzo Lotto. For some reason, Van Dyke had gotten it into his head to push the portrait to be the emblem of the upcoming Chicago World's Fair of Years later, Van Dyke gloated at his success. At his urging the image was put "on all the tickets, diplomas, medals, and coins of the Fair" [ See 13, p. Regarding such triumphs, Van Dyke both disdained the crowd and gloried in its applause.
As he put it, he liked "the shout of the man in the street" See also ; ; ; ; ; ; ; and The listing in the Archival Sources for the James W. Ellsworth Papers at the Chicago Public Library provides further background. Together, they reflect the uncertainty surrounding the adamancy of Van Dyke's stance]. The Madonna in Art. The Mentor 5. Assesses the various artistic treatments of the Madonna down through history. The Madonna in Italian Art. The Ladies' Home Journal Six months after "The Story of Madrid: Critical Notes on the Prado.
The Making of Library Catalogs. The Library Journal Mounting the pedestal of the enlightened iconoclast, Van Dyke storms against catalogs using ramifying classifications. Instead, he promotes an encyclopedic system arranged alphabetically by author, title, and subject. This way the holdings of a library, he assures us, will be accessible even to "the veriest dunce" The Meadows: Familiar Studies of the Commonplace. Sixth and final volume in his Natural Appearances Series. Pleasant strolls with the aging professor over the fields and hilly woodlands surrounding the spires of Van Dyke's beloved college town.
A book of winning modesty and aesthetic grace. Van Dyke praises Pennell for his precocious admiration of Martin Rico, a fascination setting the young artist on the right course Of Pennell's prodigious output, Van Dyke tips his hat as one who knows: "Almost anyone can do one thing fairly well if he hammers at it long enough, but to do a thousand things and do them well,--that is quite another story" Modern Art and Isms.
The Mentor 9 October : A brief but important article because it shows that Van Dyke, despite his ignoring them almost completely elsewhere in his writings, studied such new movements as Cubism and Futurism and at least partially understood their techniques while not grasping the impulses behind them.
There is Babel and discord" Modern Art Criticism. As would a wrathy parent, Van Dyke praises one moment, damns the next. The problem is that in using the "scientific method" to identify artists, critics swell up until they're blinded by their [page 41]. If The Meadows is one pole of Van Dyke, this is the other. In his embarrassing tantrum, Van Dyke rends his garments over people's stupidity and greed and in the process manages to damn just about every race, class, and occupation--all except Andrew Carnegie, presented as a model of tolerance and generosity. The magnate gives his full-blown ideas about the purpose of money in The Gospel of Wealth.
The fourth volume in his Natural Appearances Series. A treatise on the aesthetics of mountains around the world. Stretching the bounds of the book's scope, the first chapter is a fictional, if colorful and convincing, account--actually, the best I've ever read--of hunting buffalo across the great plains with a band of Sioux Indians The Foreword explores how Van Dyke "manages to write whole books about the aesthetic pleasures of viewing oceans or mountains without boring his reader" xii. Sargent's Most Popular Picture. Want to know which painting Van Dyke thought was "the very last word in skill, style and learning"?
The execution perfectly fits the subject, two little girls lighting Japanese lanterns at dusk in a garden of flowers. More abstractly, the canvas is "a tale of light and color". Rightly so, Van Dyke's exuberation knows no bounds. Progressive Arizona Excerpt from the manuscript of My Golden Age , appearing long after Van Dyke's death as his Autobiography but first published here, somewhat curiously, in a rather obscure magazine. On the other hand, about this time Scribner's continued to issue his travel books, such as In Egypt and In the West Indies , certainly a risk as the Great Depression lengthened and few people could afford to travel.
In any case, this magazine publication follows the handwritten revisions on the original, holograph manuscript of My Golden Age. Manuscript published in as The Autobiography of John C. The manuscript exists in various forms and may be found in several places. Sage Library. The original typescript is owned by a Van Dyke relative. A photocopy of the original holograph manuscript and a partial transcription in typescript made from it are in the holdings of the University of Arizona.
See also Archival Sources. See also ]. Echoing his Art for Art's Sake , yet going beyond it, Van Dyke celebrates nature's beauty as the highest good. By stating that "The forms and colors of this earth need no association with mankind to make them beautiful" x , Van Dyke establishes a fruitful contradiction running throughout his life. On the one hand, the beauty of nature is sufficient to itself; on the other, art consists of the artist's modifications of what he sees. Given Van Dyke's later track record, one does wonder, at least in passing, if by this stage of his life the author had, indeed, visited all the exotic places around the world whose beauty he hails in these pages.
Illustrated by Joseph Pennell. From New Brunswick Van [page 42]. Reformed Church Seminary Publication, No. Two years after he was appointed director of the august Gardner A. Sage Library, young Van Dyke shows that he has hit the deck running by issuing this pamphlet celebrating the collection and asking for donations. At the time, the library's holdings were remarkable, ranging from hermeneutics through the fine arts, from the Egyptian Book of the Dead on papyrus to a copy of the double-elephant folio of Audubon's The Birds of America.
And don't miss Van Dyke's inimitable humor An activist librarian and the greatest fundraiser the Seminary has ever seen, Van Dyke would turn the Sage into a wonder of light, installing stained-glass windows and completing the original architectural plan of the Library by adding its transept [ See also for his later The Sage Library ]. But not everyone, including Rev. Daniel Meeter, has been pleased with Van Dyke's aesthetic drive and secular emphasis. Van Dyke [ See ]. Of Truths and Beauties. The Critic 10 28 July : Taking the issue quite seriously, a young Van Dyke argues that artistic truth is not the singular possession either of the realists or the idealists but particular to each individual artist.
Each should act upon "the truth of his own impressions and convictions. It also shows why Van Dyke shrugs in The Desert that all he can do is give his "impression" of what he sees xi --an impression which, contradicting all this, he came to believe was finer than anyone else's. Some animals are more equal than others. New York: Century,. Van Dyke knew about grace. As with the following, this volume is a delight to hold and leaf through.
Successfully applies the approach of the earlier Old Dutch and Flemish Masters. Artists discussed range from Hogarth to Landseer. In this achievement of comprehensive art criticism, Van Dyke treats most of his subjects with Apollonian equanimity. However, the nearly dithyrambic chapter on Turner , of anything anywhere else, best reveals Van Dyke's excited way of seeing when writing The Desert [ See ].
For the bewildered ladies of the Journal , now all is as shifting sand. They can't trust the labels in museums, many of them harboring works falsely attributed to the Greats, at times deceptions purposefully continued to maintain the institutions' prestige. For an alexipharmic, Van Dyke in particular recommends Bernard Berenson's guides.
All this foreshadowing the upset years later of Rembrandt and His School [ See ]. Third volume in his Natural Appearances Series. The beauties of the world's seas described with a painterly eye. Showing how he got the drop on bandits and rode wildly over the plains with the toughest of cowboys, Van Dyke would lead his readers to believe that he was a stalwart frontiersman.
He likely was embroidering stories told him by brother Theodore, a true outdoorsman, and offering them as his own in print. Paris: Critical Notes on the Louvre. Philadelphia Art Exhibition. New York Evening Post 6 January : 7. Van Dyke's even-tempered and mostly favorable review of the exhibit especially praises Winslow Homer for his Northeaster , a marine. Van Dyke also likes a canvas by a Mr. Deming, of Indians on horseback, for "the feeling of night and danger in it. The Piazetta Poem. In this piece of moving nostalgia in the Ubi sunt?
I know not this new ebb and flow, But--was that wrinkled hag that passed The flower girl of long ago? Plain Talks about the Old Masters Part 1. Galleries often are responsible for our false viewing of pictures. The Old Masters created canvases to be hung in specific places and under specific conditions in churches and palaces. Now gathered in museums, the paintings exist in a great jumble, at war with one another, often under the wrong lighting, and not seen from a sufficient distance.
On this affliction to art, some progress is being made, as at the Louvre. Plain Talks about the Old Masters Part 2. The Mona Lisa All the carnations of the face have flown and given place to leaden hues Principles of Art. In this discourse on art history and theory, Van Dyke thumps that realism is "the lowest and most contemptible form of art" Raphael "appeared in the noontide of the Renaissance, drew all eyes by his radiant genius, and then, before twilight had set in, passed out in splendor as a star in the blue" 1. Van Dyke explains the why of all this.
The Raritan: Notes on a River and a Family. New Brunswick: privately printed, A family history rich with moving sentiments about how generations of Van Dykes lived close to the land. Essayist, poet, and Van Dyke cousin, Henry van Dyke, however, politely questioned its accuracy [ See , p. In any case, don't miss the surprisingly frank self-portrait. Although "Nature has proved the most lasting love of all" 86 , Van Dyke and his brothers inherited "a nervous morbidity," "a bleak pessimism," and a sense of failure Interestingly for a family history, the dedication is "To C.
Recent American Sculpture. Considering all his storms against representational art, it's a little unsettling to behold Van Dyke here praising the execution of a monument presenting the figures of Poetry and Patriotism flanking the dour form of Mother Ireland.
What to make of it? Or perhaps, as in Old English Masters , he bent his theories when convenient to accommodate popular taste [ See 20 for his more sophisticated analysis, emphasizing the abstract beauties, in The Century's American Artist Series ]. In this appreciation of the Master, Van Dyke gives inklings of his stormy Rembrandt book to come: "Northern art has not had a critical search-light turned upon it.
When it does, the present catalogue of Rembrandt's will crumble" Rembrandt Again. The biography reminds Van Dyke of Agassiz, who reconstructed a rare fish on the evidence of a single bone.
Prometheus: An Archaeological Perspective (sort of). - Digital Digging
Michel's historic method is not so satisfying" Nonetheless, Van Dyke separates the metal from the dross, pointing out the book's areas [page 44]. The book caused the greatest public furor of Van Dyke's writing career by greatly reducing the number of works by Rembrandt, thus not only wounding critics' pride but collectors' pocketbooks.
Van Dyke took the heat well, all but rejoicing in the stir he'd created [ See 13, p. Van Dyke may have been wrong in a number of the particulars but right in his main thrust. The debate over Rembrandt's oeuvre continues [ See , ]. A companion volume to the above. Van Dyke, L. New York: A. This gallery of illustrations is intended to be introduced by Van Dyke's monograph Italian Painting. Here, the famous paintings of the Italian Renaissance printed one to a page, each with Van Dyke's one-page comment opposite.
These would be handy for the courses in art history then appearing in college curricula. The idea is to "raise the public appreciation of the best in art" v , although, despite this high aim, Van Dyke had a sharp eye out for schemes to turn a few extra shekels now and then to supplement his two regular incomes.
Van Dyke held no earned academic degree. The L. Doctor of the Humanities attached to Van Dyke's name here is the honorary degree conferred on him by Rutgers. Return of the Victorious Pharaoh to Thebes Poem. The Critic 23 August : A valiant poetic effort: In a cloud of dust, in a brazen flame, The conquering monarch of Egypt came! Yet to be fair, although the poem fails to explore any new intellectual or aesthetic territory, once it warms to its subject the piece begins rumbling, gaining power, stretching the reader's vision out to see--almost in anticipation of a Cecil B.
DeMille film--a vast panorama of soldiers advancing until "the earth and the sky seemed one helmeted rim. The Romance of Rembrandt's Life. With a powerful opening paragraph, Van Dyke shows that romance is an illusion, although a sustaining one, even when imposed on past figures.
Thus, our humanity deepened, we follow the trajectory of Rembrandt's life, from the whirl of his great love, Saskia, and through her early death to the painter's sad and bankrupt closing years. A moving piece revealing a glimpse of human comprehension not often seen in Van Dyke's writing. Another attempt to revive the failed series. Special issue of New Brunswick Seminary Bulletin 6. A history of the library from the beginning of the Seminary of the Reformed Church in America in through Van Dyke's tenure. He took the Gardner A. Sage Library, originally a rather dour affair, and converted it into a cathedral of airy light, its statuary and fine paintings bathed in the colored glow streaming down from high, stained-glass windows.
And so it remains today. Sargent the Portrait Painter. Outlook 74 2 May : Sargent's whole style is more Parisian than anything else He has never been led away by new movements, nor has he sympathized with mere fads" Los Angeles Times 1 January : Whoever wrote the brief introduction to the piece expresses a popular attitude of the day by having it both ways.
The Colorado River is a noble giant, and although we may shed a tear for its passing, this exemplum of wild nature must give way to something better, the "throb and hum Petersburg: Critical Notes on the Hermitage. The Story of Corot and the Orpheus. Picking up on his piece in the issue from the month before, Van Dyke compares the dour, earth-stained Millet with the airy Corot, who painted "a dreamland of Olympian groves. The Story of Correggio's Holy Night. Besides the usual aesthetic analysis, Van Dyke gives us the tang of intrigue. The picture was so envied that the reigning family in the area tried to get its clutches on the altarpiece, but the clergy resisted.
Finally, a conniving duke had it stolen and spirited off to Modena. The previous month's issue announced this article as the last of the series. The Story of Leonardo's Mona Lisa. Contrary to the legend, Leonardo was not the dreamy, dilatory artist of painting lore who took four years to complete this picture. Rather, he "saw much of the fair lady and.. The Story of Millet's Gleaners. America's housewives aspiring to "culture" receive instruction on the fine points of art. Surrounded by ads for radiators and Amour's Extract of Beef, Van Dyke shows that he will do so without condescension.
Using a famous painting as his subject, in this first lesson he makes careful distinctions between everyday and artistic truths and trains unschooled eyes how to perceive the niceties of color and composition. The Story of Rembrandt's Night Watch. Van Dyke straightens us out on a number of points concerning this well-known work. The painting neither takes place at night nor is it of a watch but of "a group of portraits of the Civic Guard of Amsterdam," for which Rembrandt received sixteen hundred florins.
Even at that fee, however, he botched the job. As "the slave of his own method," he could not make his usual handling of light, successful in single portraits, work in this larger canvas of many figures. For all that, his brilliant textures and sense of dashing men would in themselves "make the reputation of a dozen artists. The Story of Rubens's Descent from the Cross. American tourists in Europe's museums walk past "miles and miles of canvases" without understanding them. Van Dyke will be our corrective. First, viewers need to appreciate the religious impulse of the time.
Paintings were meant to inspire holy awe in illiterate peasants. Second, the technical aspects affecting this: "Rubens planned the long diagonal line in this group that you might feel the fall of the body. The Story of the Pine. New York: Authors Club,. As is true of many a cynic, the later Van Dyke hid, but did not overcome, a thick swatch of sentiment in his heart. This brief early tale is about a love affair between a pine tree and a birch tree. Note the dripping sentiment of his childhood memory in the Autobiography [ See 13, p.
For how he curbed, but never conquered, this streak in his writing [ See 13, p. The Story of the Sistine Madonna. Not "one person in a hundred fully understands" this eminent oil by Raphael. Therefore, Van Dyke instructs us, telling how so it is said Raphael saw the painting in a dream; how it was designed to fit its place as an altarpiece, the Child held high by the Madonna so that the congregation could see Him; why Santa Barbara is there and why she is kneeling, etc.
A clear and thorough exegesis. The Story of Titian's Entombment. The cover for this Easter issue features a huge rabbit looking out with a magisterial eye, but Van Dyke has serious business at hand. The Entombment seems dull, offering little of story interest. But "Look at the figures merely as figures, and have you ever seen, aside from Greek sculpture, grander, fuller, more imposing forms than these? Note the strong heads and necks and shoulders, the firm hands and arms and feet. The Story of Watt's Love and Death.
A guide for unschooled tourists to European galleries, educating them to see the paintings "truly," "adequately," and "justly" v. Suggestiveness in Art. The New Englander Science is fine enough in its own realm, but its successes have led "the masses" to honor factualness in art, too. Arguing to the contrary, Van Dyke points to broken fragments of Greek statuary that lead the mind on beyond the actual. His reminder: "the expressive arts have to do with the realm of the imagination, and their province is to please by stimulating the imagination of the beholder" New York: Columbia College,.
A study in contrasts, Van Dyke created tensions both in his life and work by opposing a hyperactive romanticism with a compulsion for order. The latter clearly is evident in the details of this twenty-three-page syllabus for a course in art history. Many tables of contents in his books exhibit the same drive. Interestingly, from the outline of the last lecture it seems that Van Dyke saw much of art as a back-and-forth battle between romanticism and classicism. A Text-Book of the History of Painting. College Histories of Art Series.
New York: Longmanns, Green,. A textbook discussing hundreds of painters throughout the centuries of Western art. In addition to writing this volume on painting for the series, Van Dyke served as editor for two related studies, one on architecture by Hamlin, another about sculpture by Marquand and Frothingham. In his Autobiography Van Dyke rejoices over the success of the three books and tells how it inspired the idea for putting together Modern French Masters [ See 13, p. The Times Home Study Circle. The World's Great Artists.
Los Angeles Times 19 April : 7. The Times invited authorities in the field to contribute articles in a series on famous artists. In this two-part discussion Van Dyke shows his keen way with words and thought. By Rubens' time pietism was out, exuberance in: "There was no more of painting soul well by painting body ill. Los Angeles Times 26 April : 7. Van Dyke concludes the Rubens lecture with a drum roll. Rubens' colors are "radiant with light and will make the hues of any other master look washed out.
Los Angeles Times 3 May : 7. In this second two-parter, Van Dyke explores how culture and economics shaped Rembrandt's work. For instance, because of their Protestant misgivings the Dutch did not decorate their churches with paintings. Without that income enjoyed by many of his Italian brethren, Rembrandt turned to the business of portraiture and income from taking on students. Los Angeles Times 10 May : 7.
Concluding his comments on the Great Master, Van Dyke shows himself the romantic by arguing that Rembrandt's paintings reflect the emotional changes of his life. Titian's Flora. A splendid example of Van Dyke's scalpel-knife seeing. Two Private Collections in Paris.
The Art Review. This is, bar none, the best art criticism by Van Dyke, showing his keenness of vision, primitive strength, and catholic comprehension. And all this at the age of thirty-one! Such was his approach in The Desert. With this liberality he praises what matters in painters as different as Millet, Delacroix, and Constable.
Van Dyke's sweet generosity here almost has us forgiving his slipperiness elsewhere. Wanted--The Data of Criticism. Even as a youth, Van Dyke could be a volcano blowing its top. Critics, "knights of the order of the grey goose quill," sling their unfounded opinions about at will, while the public is "quite willing to have the critics suggest what it should think" There is a humorous aspect to this blustering, since Van Dyke staunchly saw himself--not as a volcano--but as a fount whose truths should be accepted simply on the authority of their source.
What a Burne-Jones Picture Means. Usually on hair trigger for the Pre-Raphaelites, Van Dyke here eases up a bit for a painter of medieval romance whose sentimentalism likely struck a chord with Van Dyke's own maudlin streak. Then, too, Burne-Jones took reality as a departure point for the imagination, a reminder of words from The Desert : "The reality is one thing, the appearance quite another" The Ladies Home Journal The frequent question, "What does this picture mean? We may well not share the religious significance a canvas had for its time, or, indeed, the significance may be entirely lost.
What counts is our pleasure at its artistry. And there's another benefit. The Old Masters painted the scenes and people they knew and loved. The glowing angel's face may be that of the artist's mistress. Hence, we have not only an historical record of dress and furnishings but vibrant, human portraits. Also knocks the Pre-Raphaelites: "The grasp at the little things of fact is a gain in trifles.
Only when "goaded by ignorant criticism The public also has misunderstood Whistler's paintings, ingeniously contrived to transform a realistic subject into the different reality of "a harmonious scheme of color.
Prometheus: An Archaeological Perspective (sort of).
What Is Art? Studies in the Technique and Criticism of Painting.
In his defense of Art for Art's Sake , Van Dyke scowls on "anything that is of popular interest" 87 and seems to be responding to Tolstoy's book of the same title. Who Painted This Old Woman? New York Times 16 December , Section 4: 3. Coolly, steadily, point by point, in this large spread with photographs illustrating the details, Van Dyke explains why the attribution is wrong. In fact, the painting is clumsy, showing defects of Nicolaes Maes totally uncharacteristic of Rembrandt.
Furthermore, the picture was repainted about a hundred years ago, and the duped public has been agog at the brushstrokes of an unknown restorer. A seminal piece illustrating Van Dyke's logic and aplomb under fire. Winter Birds. Reprints a lovely chapter from The Meadows In the biographical note, Van Dyke comments on his method of writing: If one has something to say, he need not worry about the manner of saying it.
It will say itself. Learning to write something about nothing is the cause of so many dreary stupid books being put out each year. Whatever I have had to say I have tried to say it in the fewest and the simplest words--words that a child may understand. That is my notion of good style. In an intimate and forthright letter to editor Brownell, Van Dyke pleads for help: "I wish you would read the galley proofs and give me the benefit of your suggestions. I haven't lost any idiocies since I have been out here, and I surely must have picked up a lot of mannerisms.
I'm relying on you to keep me from making too big an ass of myself" [ See , p. The Autobiography often complains about the onerous lot of the writer [ See 13, p. And, [page 48]. The Workmanship of the Great Artists. For the Old Masters were excellent craftsmen. John C. Van Dyke, ed. Carnegie admirer Van Dyke was reworking the notes of a man who already had put a pleasant gloss on his life. Glaringly suspect is the account of the McLuckie affair , a bizarre cluster of events explored in my The Homestead Strike and the Mexican Connection [ See ].
A reprint at a popular price. Foreword Cecelia Tichi. Boston: Northeastern University Press,. Tichi states that Carnegie's autobiography "attempts to show that the capitalist-industrialist was the man of meritorious character, an agent of the progress of civilization and the man on whom the public could rely to be its benefactor.
In this sense the Carnegie persona repudiates contemporary critical voices" xvi. The Foreword makes no mention of Van Dyke. History of American Art Series. In his Autobiography Van Dyke explains his enthusiasm for this series, how it would cover "all the arts in America. However, "Isham had written the first comprehensive history of American painting and Taft had done the same for American sculpture," and in this Van Dyke took great satisfaction. It's worth noting in this passage that Van Dyke says Joseph Pennell was to do the volume on illustration and engraving but that "he died before his volume was finished" Given the dates for the three published books in this series, the statement about Pennell seems a little strange.
In the Archival section, note the letter of at the University of Pennsylvania. However, the confusion is but one more example of how woefully off Van Dyke can be in the dates, and even in the general time frames, he offers in his Autobiography. When writing the Autobiography , could Van Dyke have forgotten that his friend didn't die until ? Teague and Wild comment on the possible effects of the doses of silver nitrate Van Dyke was taking [ See , p. Low, and Julian Alden Weir, is, in itself, revealing--to write about the French masters they most regard.
The trials, tribulations, and great hopes for what Van Dyke saw as a breakthrough work he sets forth in his Autobiography He is man enough to admit his disappointment that "the book was not taken more seriously" but shows his spunk by moving right along into the History of American Art Series Introduction by H. Barbara Weinberg. New York: Garland,.
Weinberg's introduction establishes the context. The great wealth created by industrialization after the Civil War saw not only the florescence of art but books about the new artistic awakening. Weinberg surveys these books, analyzes them, and sees this Van Dyke work as a "unique collection of essays" arising from the artistic excitement 5. This reprint of Modern French Masters is one of the twenty-six other reissues, "invaluable resources for students of American art history" New York: Longmans, Green,. Van Dyke, et al.
Rembrandt: Selected Studies. Philadelphia: The Louvre and Luxembourg Company,. This intelligent, thirty-two page introduction to the Master gives readers their money's worth: "Rembrandt was a mind as well as an eye. Few painters had a keener grasp on actualities; few saw the world without so positively and so clearly.
Yet the artist's view is always tinctured by an individuality; and everything in nature, to Rembrandt, was 'seen through the prism of an emotion'" Abbey, Edward. Desert Solitaire: A Season in the Wilderness. New York: McGraw-Hill,. One of today's famous desert writers hints at a major encouragement to his own feistiness by including Van Dyke's The Desert on his short list of recommended desert reading. Adams, Henry. Rembrandt or Not Rembrandt? Smithsonian A popular overview of the difficulties through the years in determining Rembrandt's oeuvre. New York: Columbia University Press,.
This is about the meatiest discussion of the subject you're likely to find in one paragraph, packing in a lucid definition and references to the thinkers leading to it. The New Encyclopedia Britannica. Chicago: Encyclopedia Britannica,. With roots in Immanuel Kant, the movement gained strength during the nineteenth century while reacting to industrial ugliness, then reached a high point when Whistler took up the cause.
The term often is used interchangeably with Art for Art's Sake. New York: Oxford University Press,. Both Ruskin and Tolstoy opposed art freed of moral issues. However, "that aesthetic standards are autonomous, and that the creation and appreciation of beautiful art are self-rewarding activities, has become an integral part of 20th-cent[ury] aesthetic outlook.
Aitken, William Benford. New York: P. Putnam's Sons,. Genealogy of the paternal side of Van Dyke's family.
Cut to the Isle of Skye:
Van Dyke and brothers listed An Amateur In Economics. Van Dyke's tirade summed up well. While Van Dyke has described a human race of Yahoos, he offers no remedy. The book remains a tirade. Furthermore: "Mr. Vandyke [ sic ] has won so much credit by his writings on art and nature that it seems a pity that he should wander into the field of economics without special equipment or call to speak authoritatively.
An American Achievement in Art. Woes of art in the nitty-gritty. For years The Century has run Mr. Cole's reproductions of Europe's artistic masterpieces, printed from woodblocks. Now the editorial praises Americans' "genuine growth in taste" for art generally and Cole's artistry in the particular. The problem is that when Mr. Cole brings his blocks back from Europe, rather than allow them in duty-free as art, the customs officials charge him a heavy tax for importing "manufactures of wood. Anderson, Eric Gary. Teague ed. Isle : The very range of his correspondence reinforces this emerging understanding of a Van Dyke who, if not exactly mercurial, is clearly a man of many personae: he receives letters from Andrew Carnegie and Booker T.
Washington" Andrew Carnegie's Biography [sic] in a Popular Edition. Carnegie to pile up his appalling fortune, but neither those nor any disapproval one may entertain as to some of his [page 52]. Archibald, Raymond Clarke. Strong, Theodore. Dictionary of American Biography , edited by Dumas Malone. New York: Scribner's,. Biography of Van Dyke's maternal grandfather, a mathematician and graduate of Yale who eventually became a vice-president of Rutgers.
Armstrong, Hamilton Fish. Those Days. New York: Harper and Row,. Most of Van Dyke's books are handsomely done; the ornate yet restrained grace of several the works of best-selling author and book designer Margaret Armstrong. Through this reminiscence full of sentiment but not sentimental, we see the family life of Margaret Armstrong and get to know the cultural milieu of New York City of Van Dyke's day.
The writer, her brother, gives especially good glimpses of Margaret Armstrong, Margaret Neilson. Kunitz ed. New York: H. The biographical rundown catches little of the verve of this talented woman. Who's Who in America. Chicago: A. Armstrong's books ranged from a field guide to Western flowers to murder mysteries. Aronson, Marc Henry. New York University,. This analysis shows how Brownell's commercial and activist yet deferential editorial style fostered both gentility and popularity.
His public role as a critic is investigated by reviewing his numerous critical essays and nine books. Review of What Is Art? The Nation 15 December : Commends Van Dyke for the "pungent good sense" to condemn literalism by suggesting that true art is a matter of execution, not theme. Van Dyke may not have defined the "true seeing" lying behind technique, but he intimates it. Lastly, this "prophet of the beautiful" might well be ignored in the aesthetic desert presently prevailing across the land.
Art for Art's Sake. Followers "worshipped beauty as a supreme and absolute value and set out to defend art's purity. The Artist's View of Painting. Van Dyke has broken new ground in writing about art, offering a book on painting from the painter's point of view and, gearing his book for laymen, succeeding in his explanations of the technical delicacies in the creation of art Austin, Mary.
Earth Horizon. That does not mean they spoke to one another. Whatever their differences in politics and class, Austin and Van Dyke shared the same self-promoting bombast, and my guess is that over the decades the two glared at one another in stony, loathing silence. This bears further investigation. Note that we already have the parallel example, quite documentable, of Van Dyke and Edith Wharton.
The Land of Little Rain. It is often assumed, as does Powell, that the first book inspired the second [ See , p. However, the two volumes were written independently and to quite different romantic ends. Babbitt, Bruce, ed. This handsomely printed collection credits Van Dyke with objecting to the nomenclature of Oriental deities Dutton romantically imposed upon the Canyon's features Also, in contrast to flowery writing about the Canyon, "More than anyone, John C.
Van Dyke was responsible for bringing canyon writing back to reality, to style and imagination built upon the bedrock of good observation" Governor Babbitt, however, passes on bad information in his biographical comments about Van Dyke. Bachelard, Gaston. The Poetics of Space. Translation by Maria Jolas. Boston: Beacon Press,. Although it does not deal directly with deserts, this creates an extremely useful context for understanding Van Dyke's The Desert and our relationships with the world based on distances, both far and intimate.
Tuan makes a good companion [ See ]. Bailey, Anthony. New Yorker 5 March : , , In summarizing the long controversy over establishing the body of Rembrandt's work, the article gives Van Dyke credit for renewing the investigative impulse in the twentieth century 48, 56, Baldwin, Simeon E.
Current Literature. The paper Van Dyke read acclaimed the enormous growth in the sophistication of Americans' tastes in art over the last two decades.
This somewhat unusual review of Van Dyke's presentation in itself signals the shift from the trifling to the devoted position art was taking in the culture. Banham, Peter Reyner. Scenes in America Deserta. Salt Lake City: Gibbs M. The peppery English art critic chides Van Dyke for being a "desert maniac" , but, whatever his reservations, Banham appreciates Van Dyke's "pure aestheticism" Banker, Catherine Mary Courser. California State University,. San Bernardino, When aesthetician Van Dyke got off the train in Daggett to visit his brother, he stepped into a raw town of saloons and miners, a place not yet entirely emerged from the frontier.
In studying the history of Daggett's oldest building, the writer creates a portrait of the town itself. Good selection of maps and a useful bibliography. Barrier, Robert Gene. A Critical History of Scribner's Magazine , University of Georgia,. Studies the changing editorial directions of Scribner's title changed to Century Magazine during the period when Brownell held sway at Scribner's and Van Dyke was writing for the magazine. Barrus, Clara. The Life and Letters of John Burroughs. Early on, Van Dyke became quite a fad with the arts and croissants crowd, as he remains to this day.
In while visiting Southern California's fashionable Mission Inn, John Burroughs' mistress was delighted that: The chief clerk was a botanist, the headwaiter a poet, and even the women who shampooed one's hair discussed the works of Burroughs and Muir, and gave a digest of van Dyke's [ sic ] book on the desert. The menus, exemplifying that man cannot live by bread alone, had daily quotations, during our ten days' stay, from Burroughs and Muir.
Bates, Ernest Sutherland. Brownell, William Crary. Brownell, Van Dyke's editor at Scribner's, was leery of "excessive individualism" but also appreciated "the value of the individual creative energy released by the romantic ideal" Baur, John E. The Health Seekers of Southern California , San Marino, California: Huntington Library,. One of Southern California's great attractions was its climate. People who were, or at least thought they were, cured by it understandably became boosters--even of such places with bad reputations as the desert.
Van Dyke's relief from respiratory problems while in the region, combined with his fears that the humidity of irrigation would ruin the climate, led him to declare, "The deserts should never be reclaimed. They are the breathing-spaces of the west" [ See 25, p. Baylor, Byrd. One of Tucson's Hottest. Tucson Weekly 25 September- 1 October : This Southwestern writer lauds The Desert as "the most observant of all desert books.
Beatty, Laura. Lillie Langtry: Manners, Masks, and Morals. London: Chatto and Windus,. This most recent biography of Langtry, although well documented, has nothing to say about the Namouna painting and the circumstances of its creation. Bell, Millicent Lang. Edith Wharton: Studies in a Writer's Development. Brown [page 54]. Berenson, Bernard. Lorenzo Lotto: Complete Edition, with Illustrations. London: Phaidon Press,. Although admitting he once had his doubts, the ubiquitous art authority now asserts that the Lotto Christopher Columbus "is certainly by Lotto.
Berger, Bruce. Portland, Oregon: Breitenbush Books,. A modern reincarnation of Van Dyke thinning off into the inevitable consequences? Bermingham, Peter. American Art in the Barbizon Mood. Washington, D. The artists were looking to nature for a way of life, for a new evaluation of existence in which progress, competition, or personal aggrandizement played no part" 9. Describes a good number of American artists under this influence admired by Van Dyke.
The bibliography misspells Van Dyke's name Bishop, William H. Young Artists' Life in New York. Scribner's Monthly A picture of the keen artistic fervor into which youthful Van Dyke plunged.