Connecticut-born Tryon came under the early influence of the French Barbizon painters during his studies abroad. By the 1890s, his allegiances had shifted to the more radical American expatriate, James McNeill Whistler—a transition revealed by such serene, muted landscapes as this work. Whistler’s likening of painting to the abstract language of music shaped Tryon’s approach to landscapes that distilled rather than transcribed nature on canvas. As one period critic observed, “Tryon’s pictures are almost, literally speaking, musical in their effect. He composes his pictures as a composer does his score.” The highly decorative frame was designed by architect Stanford White, something he did for many of his artist friends. A number of White frames can be found in The Met’s collection.
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