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Early Paintings by Frederic Edwin Church
Bibliography for The American Landscape's "Quieter Spirit": Early Paintings by Frederic Edwin Church Books and a bibliography of additional sources are available in the Reading Room of the Dorothy Stimson Bullitt Library (SAM, Downtown). Avery, Kevin J. and Kelly, Franklin. Hudson River School visions: the landscapes of Sanford R. Gifford (New York: Metropolitan Museum of Art; New Haven: Yale University Press, 2003). Carr, Gerald L. and Harvey, Eleanor Jones. The voyage of the icebergs: Frederic Church's arctic masterpiece (Dallas: Dallas Museum of Art; New Haven: Yale University Press, 2002). _____. Frederic Edwin Church: the icebergs (Dallas: Dallas Museum of Fine Arts, 1980). _____. In search of the promised land: paintings by Frederic Edwin Church (New York: Berry-Hill Galleries, Inc., 2000). Cock, Elizabeth. The influence of photography on American landscape painting 1839- 1880 (Ann Arbor: UMI Dissertation Services [dissertation], 1967). Driscoll, John Paul et al. John Frederick Kensett: an American master (New York: Worcester Art Museum, 1985). Fels, Thomas Weston. Fire & ice : treasures from the photographic collection of Frederic Church at Olana (New York: Dahesh Museum of Art; Ithaca: Cornell University Press, 2002). Glauber, Carole. Witch of Kodakery: the photography of Myra Albert Wiggins, 1869- 1956 (Pullman: Washington State University Press, 1997). Harmon, Kitty. The Pacific Northwest landscape: a painted history (Seattle: Sasquatch Books, 2001). Hendricks, Gordon. Albert Bierstadt: painter of the American West (New York: H. N. Abrams, 1974). Howat, John K. The Hudson River and its painters (New York: Viking Press, 1972). Huntington, David C. The landscapes of Frederic Edwin Church: vision of an American era (New York: G. -
Sir John Franklin and the Arctic
SIR JOHN FRANKLIN AND THE ARCTIC REGIONS: SHOWING THE PROGRESS OF BRITISH ENTERPRISE FOR THE DISCOVERY OF THE NORTH WEST PASSAGE DURING THE NINE~EENTH CENTURY: WITH MORE DETAILED NOTICES OF THE RECENT EXPEDITIONS IN SEARCH OF THE MISSING VESSELS UNDER CAPT. SIR JOHN FRANKLIN WINTER QUARTERS IN THE A.ROTIO REGIONS. SIR JOHN FRANKLIN AND THE ARCTIC REGIONS: SHOWING FOR THE DISCOVERY OF THE NORTH-WEST PASSAGE DURING THE NINETEENTH CENTURY: WITH MORE DETAILED NOTICES OF THE RECENT EXPEDITIONS IN SEARCH OF THE MISSING VESSELS UNDER CAPT. SIR JOHN FRANKLIN. BY P. L. SIMMONDS, HONORARY AND CORRESPONDING JIIEl\lBER OF THE LITERARY AND HISTORICAL SOCIETIES OF QUEBEC, NEW YORK, LOUISIANA, ETC, AND MANY YEARS EDITOR OF THE COLONIAL MAGAZINE, ETC, ETC, " :Miserable they Who here entangled in the gathering ice, Take their last look of the descending sun While full of death and fierce with tenfold frost, The long long night, incumbent o•er their heads, Falls horrible." Cowl'ER, LONDON: GEORGE ROUTLEDGE & CO., SOHO SQUARE. MDCCCLI. TO CAPT. SIR W. E. PARRY, R.N., LL.D., F.R.S., &c. CAPT. SIR JAMES C. ROSS, R.N., D.C.L., F.R.S. CAPT. SIR GEORGE BACK, R.N., F.R.S. DR. SIR J. RICHARDSON, R.N., C.B., F.R.S. AND THE OTHER BRAVE ARCTIC NAVIGATORS AND TRAVELLERS WHOSE ARDUOUS EXPLORING SERVICES ARE HEREIN RECORDED, T H I S V O L U M E I S, IN ADMIRATION OF THEIR GALLANTRY, HF.ROIC ENDURANCE, A.ND PERSEVERANCE OVER OBSTACLES OF NO ORDINARY CHARACTER, RESPECTFULLY DEDICATED, BY THEIR VERY OBEDIENT HUMBLE SERVANT, THE AUTHOR. -
Geology and Ecology in the Nineteenth Century American Landscape Paintings of Frederic E
Curriculum Units by Fellows of the Yale-New Haven Teachers Institute 2001 Volume II: Art as Evidence: The Interpretation of Objects Reading the Landscape: Geology and Ecology in the Nineteenth Century American Landscape Paintings of Frederic E. Church Curriculum Unit 01.02.01 by Stephen P. Broker Introduction This curriculum unit uses nineteenth century American landscape paintings to teach high school students about topics in geography, geology, ecology, and environmental science. The unit blends subject matter from art and science, two strongly interconnected and fully complementary disciplines, to enhance learning about the natural world and the interaction of humans in natural systems. It is for use in The Dynamic Earth (An Introduction to Physical and Historical Geology), Environmental Science, and Advanced Placement Environmental Science, courses I teach currently at Wilbur Cross High School. Each of these courses is an upper level (Level 1 or Level 2) science elective, taken by high school juniors and seniors. Because of heavy emphasis on outdoor field and laboratory activities, each course is limited in enrollment to eighteen students. The unit has been developed through my participation in the 2001 Yale-New Haven Teachers Institute seminar, "Art as Evidence: The Interpretation of Objects," seminar leader Jules D. Prown (Yale University, Professor of the History of Art, Emeritus). The "objects" I use in developing unit activities include posters or slides of studio landscape paintings produced by Frederic Church (1826-1900), America's preeminent landscape painter of the nineteenth century, completed during his highly productive years of the 1840s through the 1860s. Three of Church's oil paintings referred to may also be viewed in nearby Connecticut or New York City art museums. -
Volume 27 , Number 2
THE HUDSON RIVER VALLEY REVIEW A Journal of Regional Studies The Hudson River Valley Institute at Marist College is supported by a major grant from the National Endowment for the Humanities. Publisher Thomas S. Wermuth, Vice President for Academic Affairs, Marist College Editors Christopher Pryslopski, Program Director, Hudson River Valley Institute, Marist College Reed Sparling, Writer, Scenic Hudson Mark James Morreale, Guest Editor Editorial Board The Hudson River Valley Review Myra Young Armstead, Professor of History, (ISSN 1546-3486) is published twice Bard College a year by the Hudson River Valley Institute at Marist College. COL Lance Betros, Professor and Head, Department of History, U.S. Military James M. Johnson, Executive Director Academy at West Point Research Assistants Kim Bridgford, Professor of English, Gabrielle Albino West Chester University Poetry Center Gail Goldsmith and Conference Amy Jacaruso Michael Groth, Professor of History, Wells College Brian Rees Susan Ingalls Lewis, Associate Professor of History, State University of New York at New Paltz Hudson River Valley Institute Advisory Board Sarah Olson, Superintendent, Roosevelt- Peter Bienstock, Chair Vanderbilt National Historic Sites Margaret R. Brinckerhoff Roger Panetta, Professor of History, Dr. Frank Bumpus Fordham University Frank J. Doherty H. Daniel Peck, Professor of English, BG (Ret) Patrick J. Garvey Vassar College Shirley M. Handel Robyn L. Rosen, Associate Professor of History, Marjorie Hart Marist College Maureen Kangas Barnabas McHenry David Schuyler, -
Preface in Full Review Before the Eye: Visuality and the Arctic Regions
Preface In Full Review Before The Eye: Visuality and the Arctic Regions The fascination of Western culture with the Arctic regions is of ancient origin, and shows little sign of abating today, more than two millennia after Pytheas of Massalia sailed to a land he named Thule, the ultimate end of the earth. Yet throughout its long duration, this persistent attraction has been shaped by the fact that the Arctic is a place that very few people will ever see for themselves. The far North has remained, despite its ostensible “discovery,” a largely unseen country, more vividly alive and alluring in its absence from actual sight than it ever would have been if, like other regions of the “New” world, it had been colonized and developed in the early centuries of European expansion. For this reason, the stakes in the visual depiction of the Arctic have always been different than those for nearly any other place on earth, spurring the imagination new heights, even after these depictions began to be based on the actual observations of explorers. Imagined yet unseen, the Arctic functioned for the nineteenth century much as the Moon and outer space did for the twentieth: a place where, against a backdrop of nameless coastlines and unfamiliar seas, the human drama was enacted in its most condensed and absolute form. There explorers, aided only by their wits and science, traveled in capsules of civilization, in which were condensed a miniature array of the distant comforts of home. And, just as photographs and televised images of the astronauts wandering -
Frederic Edwin Church;
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The Hudson River Valley Review
THE HUDSON RIVER VA LLEY REVIEW A Journal of Regional Studies The Hudson River Valley Institute at Marist College is supported by a major grant from the National Endowment for the Humanities. Publisher Thomas S. Wermuth, Vice President for Academic Affairs, Marist College Editors Christopher Pryslopski, Program Director, Hudson River Valley Institute, Marist College Reed Sparling, Writer, Scenic Hudson Editorial Board The Hudson River Valley Review Myra Young Armstead, Professor of History, (ISSN 1546-3486) is published twice Bard College a year by The Hudson River Valley BG (Ret) Lance Betros, Provost, U.S. Army War Institute at Marist College. College Executive Director Kim Bridgford, Founder and Director, Poetry by James M. Johnson, the Sea Conference, West Chester University The Dr. Frank T. Bumpus Chair in Michael Groth, Professor of History, Frances Hudson River Valley History Tarlton Farenthold Presidential Professor, Research Assistant Wells College Erin Kane Susan Ingalls Lewis, Associate Professor of History, Hudson River Valley Institute State University of New York at New Paltz Advisory Board Tom Lewis, Professor of English, Skidmore College Alex Reese, Chair Barnabas McHenry, Vice Chair Sarah Olson, Superintendent, Peter Bienstock Roosevelt-Vanderbilt National Historic Sites Margaret R. Brinckerhoff Roger Panetta, Visiting Professor of History, Dr. Frank T. Bumpus Fordham University Frank J. Doherty H. Daniel Peck, Professor of English Emeritus, BG (Ret) Patrick J. Garvey Vassar College Shirley M. Handel Maureen Kangas Robyn L. Rosen, Professor of History, Mary Etta Schneider Marist College Gayle Jane Tallardy David P. Schuyler, Arthur and Katherine Shadek Denise Doring VanBuren Professor of Humanities and American Studies, Franklin & Marshall College Business Manager Andrew Villani COL Ty Seidule, Professor and Head, Department of History, U.S. -
Field Report
northwest passage September 4 - 23, 2015 GREENLAND ARCTIC OCEAN Qaanaaq Kullorsuaq Upernavik Uummannaq EQIP SERMIA GLACIER BEECHEY Ilulissat ISLAND DEVON ISLAND BAFFIN BAY Sisimiut SOMERSET ISLAND Fury Beach BAFFIN Kangerlussuaq ISLAND BELLOT STRAIT Fort Cape Felix Ross Kugluktuk KING WILLIAM ISLAND QUEEN MAUDE GULF BATHURST JENNY LIND INLET ISLAND CANADA Saturday, September 5, 2015 Edmonton, Canada / Kugluktuk, Nunavut / Embark Sea Adventurer Full of excited chatter, we boarded our charter flight this morning as we left Edmonton for Kugluktuk. A brief refueling stop en route at Yellowknife gave us a nice view of Great Slave Lake and the last obvious trees we would see for the rest of the trip. Soon we landed on the small airstrip amidst the low tundra landscapes of Kugluktuk and set off along the dusty roads to the community hall, where we were treated to refreshments and a display of local dances and songs. Next door was the impressive new Ulu Centre, shaped like one of the traditional Inuit knives, which contained wonderful exhibits of local life and culture. Awaiting us out in the bay was the Sea Adventurer, and a short Zodiac ride took us to our home for the next few weeks. Our Northwest Passage adventure was underway! Sunday, September 6 Bathurst Inlet A beautiful sunrise lit up the south coast of Victoria Island as we sailed east through Coronation Gulf. After breakfast, our Expedition Leader, Mike Messick, introduced the members of our expedition team before an entertaining but essential briefing on polar bear safety from naturalist, Conrad Field. Later, maritime historian, Jim Delgado, presented the Quest for the Northwest Passage and the tragic tale of Sir John Franklin, whose name is forever associated with the exploration of the Canadian Arctic. -
Thomas J. Watson Library Digital Collections | the Metropolitan
The Metropolitan Museum of Art AiU 19th CENTURY AMERICAN LANDSCAPE Queens County Art and Cultural Center November 10-December 10,1972 The Metropolitan Museum of Art January—February 1973 Memorial Art Gallery of The University of Rochester- March-April 1973 An exhibition from The Metropolitan Museum of Art made possible by grants from the New York State Council on the Arts and the National Endowment on the Arts. I>t is indeed a great selected the paintings, wrote the introduc honor for the Metropolitan Museum of tion and prepared the catalogue entries Art to initiate the Queens County Art with the help of Assistant Curators and Cultural Center with the exhibition, Natalie Spassky and Lewis Sharp, as well Nineteenth Century American as Janet Miller, Departmental Secretary. Landscape. Congratulations to Borough Special thanks go to Edward Bloodgood, President Donald R. Manes; Parks, Roland Brand and Sandy Canzoneri Recreation and Cultural Affairs for installing the exhibition. The Administrator August Heckscher; Com catalogue was designed by John Murello missioner of Cultural Affairs, Phyllis in cooperation with Stuart Silver, Robinson, the staff of the Cultural Administrator of the Museum's Design Center, and the many Queens residents Department. Bret Waller, Museum who have worked so long and hard to Educator in charge of Public Education, achieve this moment. I sincerely, hope assisted in the production of the catalogue that this will prove an auspicious and in providing the liaison with beginning, and that many fine exhibitions Rochester. Among the countless other and programs will follow. 'unsung heros' are those in the Registrar's Nineteenth Century Office responsible for all packing and American Landscape has been coordi shipping arrangements, and in the nated by the Department of Community Security Department providing the excel Programs and made possible by grants lent guardianship at the Queens County from the New York State Council on the Art and Cultural Center. -
Featured Releases 2 Limited Editions 102 Journals 109
Lorenzo Vitturi, from Money Must Be Made, published by SPBH Editions. See page 125. Featured Releases 2 Limited Editions 102 Journals 109 CATALOG EDITOR Thomas Evans Fall Highlights 110 DESIGNER Photography 112 Martha Ormiston Art 134 IMAGE PRODUCTION Hayden Anderson Architecture 166 COPY WRITING Design 176 Janine DeFeo, Thomas Evans, Megan Ashley DiNoia PRINTING Sonic Media Solutions, Inc. Specialty Books 180 Art 182 FRONT COVER IMAGE Group Exhibitions 196 Fritz Lang, Woman in the Moon (film still), 1929. From The Moon, Photography 200 published by Louisiana Museum of Modern Art. See Page 5. BACK COVER IMAGE From Voyagers, published by The Ice Plant. See page 26. Backlist Highlights 206 Index 215 Hilma af Klint: Paintings for the Future Edited with text by Tracey Bashkoff. Text by Tessel M. Bauduin, Daniel Birnbaum, Briony Fer, Vivien Greene, David Max Horowitz, Andrea Kollnitz, Helen Molesworth, Julia Voss. When Swedish artist Hilma af Klint died in 1944 at the age of 81, she left behind more than 1,000 paintings and works on paper that she had kept largely private during her lifetime. Believing the world was not yet ready for her art, she stipulated that it should remain unseen for another 20 years. But only in recent decades has the public had a chance to reckon with af Klint’s radically abstract painting practice—one which predates the work of Vasily Kandinsky and other artists widely considered trailblazers of modernist abstraction. Her boldly colorful works, many of them large-scale, reflect an ambitious, spiritually informed attempt to chart an invisible, totalizing world order through a synthesis of natural and geometric forms, textual elements and esoteric symbolism. -
A Pedagogical Summary of the Hudson River School Project
A PEDAGOGICAL SUMMARY OF THE HUSDON RIVER SCHOOL PROJECT. (Not for circulation. A report for Gerry Rose, Leesburg, Va. 10/12/2008) by Pierre Beaudry INTRODUCTION: THE INSIGHT PRINCIPLE. “{True genius accepts its duty, and will not rest short of the highest truth of his age.}” Theodore Winthrop. Frederic Edwin Church, Heart of the Andes, 1859. During a period of about fifty years (1826-1876) the Hudson River School of landscape painting had the purpose of initiating an American Renaissance in art and of establishing a cultural revolution in the American social fabric as a whole. If it did not succeed, it was not because its landscape artists did not have the required genius to do it, 1 but because the American population did not have the required { insight principle } to discover it for what it was when it came, and was unable to nurture it and fight back when it came under systematic attacks by the British Empire. This raises the question: how can an artistic renaissance be made successful in America and how can it be made to last? It is not the object of this report to answer this question, per se, but merely to force awareness of the question with respect to what Lyn identified as the { insight Principle .} (Appropriate quote needed) For example, the truth that was conveyed by the first exhibitions of The Course of Empire (1836) by Thomas Cole, or the Heart of the Andes (1859) by Frederic Church was not seized because the population was not ready to fight public opinion and be truthful as was required of a people that had just fought and won its independence against British imperialism. -
Neither Land Nor Water: Martin Johnson Heade
NEITHER LAND NOR WATER: MARTIN JOHNSON HEADE, FREDERIC EDWIN CHURCH, AND AMERICAN LANDSCAPE PAINTING IN THE NINETEENTH CENTURY BY Elizabeth T. Holmstead ABSTRACT Martin Johnson Heade and Frederic Edwin Church had a close personal relationship, shared a studio for more than a decade, and maintained a correspondence that lasted nearly forty years. Church was better known and certainly more successful commercially than Heade, but despite their close proximity DQG+HDGH¶V personal and professional admiration for Church, Heade should not be seen as an imitator of Church. +HDGH¶Vpaintings are a departure from &KXUFK¶VZRUN in both form and content. In particular, a study of +HDGH¶V many marsh paintings reveals that, ZKLOH+HDGHXVHGVRPHRI&KXUFK¶VFRPSRVLWLonal elements, +HDGH¶V preparation, working method, purpose, and message to his audience are quite different from those of Church. +HDGH¶Vmarsh paintings make their own unique contribution to the history of American art. ii ACKNOWLEDGMENTS With Grateful Thanks to Jeffrey R. Holmstead and Heather N. Hardy iii TABLE OF CONTENTS ABSTRACT .................................................................................................................................... ii ACKNOWLEDGMENTS ............................................................................................................. iii LIST OF ILLUSTRATIONS .......................................................................................................... v CHAPTER 1. INTRODUCTION .....................................................................................