Of Fields in Jersey, Humphries continues: “While undeniably a view, this type of landscape is less about the view and more about the surface of the canvas, for in bringing the trees to the immediate foreground Garber became less interested in realizing them in three-dimensional space, allowing the trees to become flattened patterns. These trees do occupy space, but only a very thin slice of it...These leaves coupled with a generally denser and darker surround contribute to the sense that the foreground is a protected shaded spot that halts the viewer’s gaze for a moment before penetrating this darkness to the sunny beyond. The eye stops at the surface, resting on the enormous details Garber included in the leaves of the trees and vines—nearly every leaf is rendered, if only quickly. This type of composition and surface treatment is, in the words of at least one later critic, ‘very Garberesque’” (Ibid., p. 45).
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