Unlike other painters who strove for an accurate rendering of topography, Inness was concerned with setting a mood and conveying a profound experience of nature. There is a sense in these paintings, characteristic of Inness’s later work, that light and life are rapidly fading into darkness.
This melancholy contrasts with the optimism commonly associated with young American landscape painters of the period, for whom the continent seemed to stretch toward a horizon of limitless possibility.
Top: George Inness, Summer Silence (End of an Autumn Day), 1892, Oil on canvas. Smart Museum of Art, The University of Chicago, The Harold H. Swift Bequest, 1967.9.
Bottom: George Inness The Coming Shower, 1892, Oil on canvas. Smart Museum of Art, The University of Chicago, The Harold H. Swift Bequest, 1962, 1978.202.
- Chad Harbach, The Art of Fielding (via glittergheist)