Elizabeth W. Champney

Elizabeth W. Champney

Summary

Portrait of Elizabeth W. Champney Elizabeth W. Champney Century Magazine

His pictures are the apotheosis of motherhood: there is a baby or a mother on nearly every canvas. One catches the reflex of his own happy home life; for every painting is a tribute to the homely joys and virtues of the fireside. There may be, and doubtless are, bitter poverty and suffering in Laren, for it is a weaving village, and the looms sometimes stand idle; but Neuhuys rarely paints this phase of life. He leaves us with our hearts warmed with kindlier sympathy, with a spark of envy, even, for the untrammeled simplicity and the unfailing devotion of the peasant women of Laren.
Source: Wikisource

Portrait of Elizabeth W. Champney Elizabeth W. Champney Century Magazine

Perhaps there was never an artist more universally loved than Artz. Mauve may have been more intensely worshiped by those who knew him intimately, but even casual acquaintances felt that they knew Artz. The man's soul is seen in his work, simple and true, abounding in ready sympathy and in all the sweet human virtues, thoughtful for others and neglectful of self. If, as has been nobly said, "To live in honour, to labor with steadfast industry, and to endure with cheerful patience, is to be victorious," then Artz and many another Dutch painter are victors indeed.
Source: Wikisource

Portrait of Elizabeth W. Champney Elizabeth W. Champney Century Magazine

Its amber canals reflect and tone the landscape like a Claude Lorrain glass, or the mellow varnish on a Hobbema. The interiors of the peasants' houses are dark and rich and colorful. In lighter keys, but still subdued, as though a restraining hand held the artist back from vulgar riot in color, and opened his vision to the subtler refinements of soft, diffused light, there are the clouded skies of the Northern sea-coast, the fogs which drift inland, the silvery green of the moist meadows — nature in her more pensive and poetic moods.
Source: Wikisource

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