The description of Weir’s painting by the Metropolitan Museum of Art states:
“After seeing the 1877 French Impressionist exhibition in Paris, Weir grumbled that it was ‘worse than the Chamber of Horrors.’ Much later, working in the Connecticut countryside under the influence of friends such as Theodore Robinson and inspired by Japanese woodblock prints, he converted to Impressionism. In this canvas, he captured the severe industrial form of a new iron truss bridge, covered with red priming paint, over the Shetucket River in Windham. The fundamentally solid forms and restrained veneer of broken brushwork epitomize Weir’s conservative brand of Impressionism.”
To my mind, this painting is exquisite. The bridge and its reflections in the water are beautifully balanced, with the central image of a trestle and its reflection anchoring the whole. The choice of colors sets off the bridge against the subtle shades that surround it, offering an elegant mingling of Japonica and Impressionism. Why does the Met feel it necessary to knock it down?
Nonetheless, here is my homage, such as it is.