3 Symbolic Form

For example, in Franklin De Haven's painting, Verdant Hills, from 1901, he used a restricted tonal range to emphasise the gesture of the tree trunks and the shape of the tree tops in the distance. The vibrant green landforms stand out against the blue sky, giving the painting a dynamic energy.

De Haven achieved a similar effect in his painting Storm Clouds, around 1905, by focusing on the billowing clouds that dominate the composition and dwarf the wind-bent trees in the foreground. 

In another work, Orange Trees from 1910, De Haven juxtaposed two trees depicted with quick paint marks against swirling clouds, adding to their symbolic power.

Charles Warren Eaton also used a limited range of earth tones to create a stark and compelling vision in his watercolour painting Gloaming Pines, around 1910. 

The white pine trees stand out in near-silhouette against the muted colours. In Forest Edge from 1904, Eaton pushed the pine boughs to the edge of abstraction, forming shapes that merge with the sunset horizon.

These artists carefully arranged natural symbols beyond the usual repertoire to convincingly portray their favoured themes. 

In addition to trees, boulders, hills, horizon lines, and clouds, they also included man-made elements, such as abandoned farmlands, overgrown pastures, paths and roads, and crumbling fences.