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245: My subjective pictures are the ones that come from the inside. I feel some emotion and I immediately paint a picture that expresses it. The sentiment is the only thing of real value in my pictures, and only a few people understand that. Suppose I want to paint something recalling meditation or repose. If people do not feel that sensation when my work is completed, they do not appreciate nor realize the picture. The fact that they like it means nothing. Any one who can use paint and brushes can paint a true scene of nature — that is an objective picture. The artist must not depend on extraneous things. There is no reality in his art if he must depend on outside influences — it must come from within.
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419:. Muir encouraged Keith to depict mountain scenery realistically, but as Keith's artistic sense had matured, he felt free to depart from geologic reality, placing an imagined glacier or a river in a scene to enhance the beauty of the painting. The two friends argued frequently about such artistic issues. It was said that Muir said, "You never saw a sunrise like that, Keith. Why in the deuce don't you imitate nature?' William would goad Muir by responding, 'Look here now, John, if you'll go out early tomorrow morning and look toward the East you'll see nature imitating my sunrise.".
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323:. The two men became deep friends for the next 38 years. Both had been born in Scotland the same year, and they shared a love for the mountains of California. James Mitchell Clarke described their friendship as one "in which deep affection and admiration were expressed through a kind of verbal boxing, counter-jibe answering jibe, counter-insult responding to insult."
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He remained a revered but reclusive figure in the large
Berkeley art colony and refused to participate in the founding of the Berkeley Art Association in 1907. He consistently contributed paintings to the colony's exhibitions between 1906 and 1911. In the summer of 1906 he briefly appeared in public
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hese two citizens, lovers of his work, early in the day diverted their attention from all other interests, their own private ones included, and made it their duty to visit every place which they knew to contain a Keith painting. They cut them from their frames, rolled them up, and in this way got all
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These benefactors presented the recovered paintings to Keith, who was then working from his primary studio at his
Berkeley home. Keith was reportedly so touched at the gesture and "having given up his previous work for lost, resolved to lose no time in making what amends he could for the disaster."
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There is the suggestion... we cannot see the cow, her hoofs. her horns, and her tail, but she is there.I can see her...every detail is worked out. I will sell that without any trouble.The buyer will look at it; see just exactly what it is and his intelligence is flattered. He has understood. He is
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wrote that Keith "left behind all his synthetics of the last twenty-five years and humbly, reverently portrayed what he saw, as objectively as in the seventies when Muir first infused into him his own spirit and vision." Keith expressed great annoyance with the many high-quality forgeries of his
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in 1863, and may have taken watercolor instruction from
Elizabeth Emerson, whom he married in 1864. He first exhibited his watercolors in 1866, and they were praised by critics. His subject matter already included views of Yosemite and other High Sierra locations. By 1868 he had begun painting in
455:. Inness came to visit the San Francisco Bay Area in 1891. He and Keith painted together, and Keith felt he was learning a lot and regaining an enthusiasm for painting that he had begun to lose. Inness's fame and enthusiasm for Keith's work gave a substantial boost to sales of Keith's paintings.
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517:, in what became an embarrassing scandal. When the university forbade Seawell from using nude models in his life classes, Keith published a blunt declaration of support in the local press, proclaiming that the nude model is "essential to real art."
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What I want to do is to study nature. The best way to do that is to be near her, and I have vague ideas about living in such close communion with her that she may adopt me and show me things hidden to every eye but that which loves her sincerely.
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Upon Keith's arrival in San
Francisco the job he had hoped for did not materialize, so he set up his own engraving business. He formed a partnership with Harrison Eastman in 1862 and with Durbin Van Vleck in 1864. He first studied painting with
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From the late 1880s on, Keith painted primarily in a subjective vein in which his emotional and spiritual reactions to the landscape were more important than topographical facts. He painted many woodland views that resembled those of
378:. A few months later they traveled to the East Coast and then to Munich, where Keith was determined to learn figure and portrait painting. He primarily worked on his own, occasionally receiving criticism from artists including
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In 1886 the Keiths moved into a custom-built house in
Berkeley, from where he would commute to his studio in San Francisco each day. That year Keith also cruised Alaska's Inland Passage and sketched some of its glaciers.
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owns more than 180 paintings by
William Keith. The collection was started by Brother Fidelis Cornelius, a Christian Brother who taught art at the college and who wrote a 900-page, 2-volume biography,
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Keith's wife
Elizabeth died in 1882. He turned for comfort to a friend, the Swedenborgian minister Joseph Worcester, who ultimately had a strong influence on Keith's approach to landscape painting.
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494:, reported that in the immediate aftermath of the quake a pair of Keith vigilantes had circulated in San Francisco, breaking into homes to save the Keith paintings within. According to James,
203:. Although most of his career was spent in California, he started out in New York, made two extended study trips to Europe, and had a studio in Boston in 1871–72 and one in New York in 1880.
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oils. That year Keith was able to end his engraving career and pursue painting full-time when he received a commission from the Oregon
Navigation and Railroad Company to paint scenes of the
223:. He emigrated with his mother and sisters to the United States in 1850. They settled in New York City, where he attended school for several years and became an apprentice wood
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219:, Scotland, where he was raised at first by his grandparents, his father having died months before he was born. William claimed to have been a direct descendant of the noble
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936:
Adams, Elaine. "William Keith (1838–1911): Seeking the Unseen
Spiritual Sense in Nature." California Art Club Newsletter, Winter 2011, 1–10. Accessed January 24, 2013.
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Keith painted some portraits on commission and also supplemented his income by giving painting lessons, mostly to women. Among his pupils was the miniaturist
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in
Chicago while en route to Europe. Burnham became an important patron and agent, showing and selling Keith paintings to collectors in the Chicago area.
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Two thematic exhibitions of his work are held each year in the Keith Room of the Saint Mary's College Museum of Art (formerly the Hearst Art Gallery).
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Adams, Elaine. "William Keith (1838–1911): Seeking the Unseen Spiritual Sense in Nature." California Art Club Newsletter, Winter 2011, 1–10.
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Keith did not entirely abandon realistic depictions of mountain scenery. In October 1907, accompanied by Muir, Keith visited and painted the
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What a landscape painter wants to render is not the natural landscape, but the state of feeling which the landscape produces in himself.
1315:(Sonnets of Edward Robeson Taylor on some pictures painted by William Keith. ed.), San Francisco: Printed by the E.D. Taylor Co.,
195:(November 18, 1838 – April 13, 1911) was a Scottish-American painter famous for his California landscapes. He is associated with
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This experience led to Keith's promise, despite his declining health, to replace for his buyers all paintings lost during the fires.
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Keith was part of a group of friends of John Muir who met in San Francisco starting in 1889 to support the establishment of
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1122:. The library of America (10th printing ed.). New York, NY: Literary Classics of the United States. p. 1221.
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486:. This resulted in the loss of many paintings. Some accounts place the number at several thousand. The psychologist
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painters. Upon his return to the United States, he shared a studio in Boston with William Hahn from 1871 to 1872.
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in Yosemite National Park, soon to be dammed to create a reservoir to provide water and power for San Francisco.
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wise. He is critic. He is a buyer. How few people really know what a sketch means to a painter who produces it.
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An online facsimile of the entire text of Vol. 1 is posted on the Traditional Fine Arts Organization website (
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Keith died in his home at 2207 Atherton Street in Berkeley, California, in 1911. He is buried in plot 14b at
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William Keith, A Selection of American Paintings at Mission San Francisco Solano de Sonoma
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Jennie V. Cannon: The Untold History of the Carmel and Berkeley Art Colonies, Vol. 1
239:. He was then offered an opportunity in San Francisco and sailed there in May 1859.
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1186:. Madison, WI: University of Wisconsin Press & Alfred A. Knopf, Inc. pp.
1154:. Oakland, Calif.: East Bay Heritage Project. pp. 72–104, 251, 465–466, 689.
975:[William Keith], Framed Items from the Collections of the Bancroft Library
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During the 1870s Keith painted a number of six- by ten-foot panoramas, including
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California: A Guide to the Golden State, by Federal Writers' Project, 1939
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Exhibition of paintings by the late William Keith, April 22 to May 6, 1913
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Sonnets of Edward Robeson Taylor on some pictures painted by William Keith
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Keith's San Francisco studio was destroyed in the fires that followed the
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1436:. Berkeley & Los Angeles: University of California Press. pp.
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California Art Research: William Keith, Thomas Hill, Albert Bierstadt
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233:. In 1858 he visited Scotland and England and briefly worked for the
1425:. San Francisco, CA: California Art Research Project. pp. 1–66.
1075:"Artist William Keith Dies At His Berkeley Home After Long Illness"
744:"An Artist's Trip in the Sierra. Yosemite Valley, July 5th, 1875"
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and J. Frank Currier. They returned to San Francisco in mid 1885.
374:. For their honeymoon, they went on a painting tour of the old
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and other Barbizon painters, as well as the American painter
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to support Harry W. Seawell, a drawing instructor at the
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In the 1890s and early 1900s Keith painted landscapes of
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Burials at Mountain View Cemetery (Oakland, California)
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Alfred C Harrison, Jr., "The Art of William Keith," in
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was named after William Keith by Helen Gompertz (later
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Keith Avenue in Berkeley was named after William Keith.
899:"Lives of the Dead: Mountain View Cemetery in Oakland"
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Writings: 1902–1910, Mental Effects of the Earthquake
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American Portrait Miniatures in the Manney Collection
470:. He was one of the earliest artists to buy land in
315:Keith then returned to California, and traveled to
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812:William Keith: The Saint Mary's College Collection
385:Through Joseph Worcester, Keith met the architect
407:In 1888 Keith traveled north with Muir, visiting
919:: CS1 maint: bot: original URL status unknown (
749:"An Artist's Trip in the Sierra. Second Letter"
466:. He painted the California missions, including
992:. San Francisco: Sierra Club Books. p. 8.
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499:the more important ones into a place of safety.
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227:in 1856. He was hired to do illustrations for
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1468:Guide to the Keith-McHenry-Pond Family Papers
869:. San Francisco: Sierra Club Books. pp.
544:. California: The Sonoma Index-Tribune, 1976.
8:
1183:Son of the Wilderness: The Life of John Muir
660:Early Oakland, 7th and Adeline Streets, The
1430:Trainer, Laureen (2006). Scott, Amy (ed.).
1253:William Warren Ferrier (27 December 1923).
901:. Archived from the original on 8 July 2011
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327:"Epic" paintings of the High Sierra, 1870s
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19:For other people named William Keith, see
844:Taos and Santa Fe Painters: William Keith
1168:http://www.tfaoi.com/aa/10aa/10aa557.htm
990:The History of the Sierra Club 1992–1970
787:. New York: G.P. Putnams sons. p. 9
781:Brother Fidelis Cornelius Braeg (1942).
604:William Keith, Old Master of California.
462:and Cypress Point from his trips to the
1343:Pattison, James William (1 June 1913).
1216:. MacMillan Company. 1911. p. 314.
1059:CS1 maint: location missing publisher (
1019:. Blomington, Indiana. pp. 42–43.
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442:Bust of Keith in 1904 by Gertrude Boyle
366:, who was the first female graduate of
1520:British emigrants to the United States
1234:from the original on 28 September 2011
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478:Great San Francisco Earthquake of 1906
468:Mission San Carlos Borromeo de Carmelo
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16:Scottish-American painter (1838–1911)
7:
1230:. St. Mary's College of California.
866:The Life and Adventures of John Muir
415:to create illustrations for Muir's
295:. While there, Keith studied under
1615:20th-century Scottish male artists
1610:19th-century Scottish male artists
1605:20th-century American male artists
1600:19th-century American male artists
1085:from the original on 8 August 2014
1016:Carmel-by-the-Sea, The Early Years
897:Michael Colbruno (28 April 2008).
596:Saint Mary's College of California
529:work on the San Francisco market.
14:
1555:Artists from Berkeley, California
1433:Yosemite: Art of an American Icon
1345:"William Keith: Poetical Painter"
1261:. Berkeley, California. p. 6
645:Selected Artwork by William Keith
319:with a letter of introduction to
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1482:Works by or about William Keith
1383:Macbeth, Robert Walker (1913).
863:Clarke, James Mitchell (1980).
784:Keith, old master of California
575:Keith, Old Master of California
558:Keith, Old Master of California
339:, originally owned by Governor
152:Mary Hortense Keith (1869–1948)
149:Charles Van Vleck Keith (1865–)
1590:20th-century Scottish painters
1580:19th-century Scottish painters
1575:20th-century American painters
1565:19th-century American painters
1311:Edward Robeson Taylor (1898),
1286:Place Names of the High Sierra
1255:"Berkeley Street Nomenclature"
952:. Metropolitan Museum of Art.
404:who painted Keith's portrait.
21:William Keith (disambiguation)
1:
1213:American Art Annual, Volume 9
853:. Retrieved 9 September 2010.
484:1906 San Francisco earthquake
472:Carmel-by-the-Sea, California
132:Elizabeth Emerson (1864–1882)
1620:Hudson River School painters
1595:Artists of the American West
1180:Wolfe, Linnie Marsh (1945).
1081:. 13 April 1911. p. 1.
1515:American landscape painters
1389:. Art Institute of Chicago.
1150:Edwards, Robert W. (2012).
1013:Dramov, Alissandra (2012).
762:, vol. 7 (1904), pp. 299ff.
634:based on Keith's paintings.
169:Elizabeth Bruce (1813–1868)
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1454:Sierra Club Bulletin, 1912
1339:Accessed January 24, 2013.
1228:"William Keith Collection"
988:Cohen, Michael P. (1988).
630:published an 1898 book of
260:, Art Institute of Chicago
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343:) and "California Alps" (
311:Friendship with John Muir
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166:William Keith (1806–1838)
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1525:Painters from California
946:Dale T. Johnson (1990).
710:Side Canyon, I, ca. 1908
577:. New York: Putnam, 1942
560:. New York: Putnam, 1942
515:University of California
201:American Barbizon school
135:Mary McHenry (1883–1947)
1477:William Keith on artnet
1118:James, William (1996).
824:The Comprehensive Keith
258:1913 Exhibition booklet
1585:Scottish male painters
1570:American male painters
1560:People from Oldmeldrum
1259:Berkeley Daily Gazette
584:Mountain View Cemetery
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490:, then a professor at
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424:Yosemite National Park
417:Picturesque California
362:In 1883 Keith married
345:Mission Inn, Riverside
293:Worthington Whittredge
273:Samuel Marsden Brookes
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103:Mountain View Cemetery
1419:Hailey, Gene (1936).
628:Edward Robeson Taylor
573:—Cornelius, Brother.
556:—Cornelius, Brother.
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266:California and Europe
1472:The Bancroft Library
1394:M.S. (1 June 1911).
1281:Farquhar, Francis P.
754:George Wharton James
626:San Francisco Mayor
508:Last years and death
522:Hetch Hetchy Valley
492:Stanford University
376:California missions
368:Hastings Law School
283:The Keiths went to
44:William Keith, 1909
1530:Sierra Club people
849:2011-02-08 at the
526:Linnie Marsh Wolfe
464:Monterey Peninsula
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333:Kings River Canyon
211:Keith was born in
1349:Fine Arts Journal
1289:. San Francisco:
1129:978-0-940450-38-7
959:978-0-87099-597-2
758:"William Keith,"
449:Théodore Rousseau
301:Andreas Achenbach
278:Pacific Northwest
236:London Daily News
230:Harper's Magazine
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60:November 18, 1838
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1486:Internet Archive
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1400:Art and Progress
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