End of Day
Inness's paintings remain, in many areas, enigmatically produced - End of Day, 1855. They are, in short, filled with capricious features. In addition to the near absence of detail in the pine powers of The Monk, we add the inscrutable foregrounds of many of Inness's most ordered compositions. In Lake Nemi and other paintings as well as here, Inness's rapidly executed brushmarks telegraph the presence, without ever representing the identities, of organic forms.
Currier and Ives
1874
Camille Corot
1838