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Frederic Edwin Church and the Splendour of Small-Scale Landscapes

by Elaine Adams

REDERIC EDWIN CHURCH status included manufacturer of (1826–1900) was one of the jewellery and silverware, director Fmost prominent American of Connecticut River Banking landscape painters of the nine- Company, director of Aetna Insur- teenth century. A prolific and suc- ance Company, and president of cessful artist, Church is chiefly Mechanics Society of Hartford. remembered for his large-scale epic Frederic’s grandfather, Samuel scenes of the Hudson River Valley Church, built the first paper mill in and South America that continue to Lee, Massachusetts, which later captivate audiences, influence became the Hurlbut Paper Com- artists and receive great critical pany. It was expected that Frederic acclaim. However, it is in his small- would continue his paternal course scale preparatory works that he as a successful industrialist. How- reveals his technical virtuosity, ever, his artistic maternal uncle, emotional sensitivity and intimacy Adrian Janes, a designer and manu- with his subjects. facturer of wallpaper, as well as an Born in Hartford, Connecticut, oil painter, may have influenced Frederic Church was the only son Frederic towards more aesthetic of Joseph and Eliza Janes Church, aspirations. descendents of Puritan ancestors In 1842, at the age of sixteen, who landed in America on the Frederic began studying drawing Mayflower. Their impeccable and painting with local artists, genealogy granted the Churches a Benjamin H. Coe (1799-1883) and Frederic Edwin Church, c. 1860 prominent position in New Eng- Alexander Hamilton Emmons Carte-de-Visite E&HT Anthony land’s social and business set. (1816-1884). His natural ability as Paper 3 4/5Љ ϫ 2 2/5Љ Joseph’s impressive entrepreneurial a draughtsman and colourist was Collection of Olana Historic Site

Horseshoe Falls, Niagara, 1856–57 Oil on two pieces of paper, mounted on canvas 11 1/2Љ ϫ 35 5/8Љ Collection: Olana Historic Site

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immediately evident, and his sisters, it would give me the greatest whose essays and poems champi- Elizabeth and Charlotte, heartily pleasure to accompany you in oned the idea that nature and man encouraged Frederic to pursue his your rambles about the place, could co-exist in peaceful harmony. passion. Initially, their father was observing nature in all her vari- Cole and his followers, Asher B. not supportive, but after coming to ous appearances. I have never Durand (1796–1886), Sanford terms with the inevitable, he decided before this spring attempted to Robinson Gifford (1823–1880), to invest in his son’s career by hiring paint from nature…. and John Frederick Kensett the best art teacher available. (1816–1872), depicted romantic, Thomas Cole’s interest in paint- In 1844 Frederic’s father asked idealized scenes of the Hudson ing directly from nature (en plein his friend, Daniel Wadsworth River Valley and its surroundings, air), was inspired by the European (1771–1848), a prominent arts as well as the Catskill Mountains, landscape masters, Claude Lorrain patron and founder of the Adirondack Mountains, and the (1600–1682) and John Constable Wadsworth Athenaeum Museum of White Mountains of New Hamp- (1776–1837). Although mid-seven- Art, to write a letter to the shire. These paintings reflect three teenth century Europe considered renowned Hudson River artist, basic themes: discovery, exploration landscape paintings inferior art Thomas Cole (1801–1848), and settlement. In general, Hudson subjects, mid-nineteenth-century requesting that Frederic study with River School artists believed that America found it an exhilarating him. With Wadsworth’s referral, nature, in the form of the American concept. Cole accepted the eighteen-year old landscape, was an ineffable mani- Perceptions about the land were Frederic Church as his first pupil. festation of God. Cole became so changing as America was experienc- Frederic was overjoyed with the associated with the movement that ing the providential call for Mani- news that he would soon be study- he was posthumously named the fest Destiny and the colonization of ing with the great Thomas Cole. In father of the Hudson River School. the coastal and frontier lands. Set- a letter he wrote to Cole, Church tlements began advancing further expressed his enthusiasm to paint s a student, Federic west, and the public’s once adverse en plein air with the master: AChurch was immersed in sentiment towards the vast Cole’s artistic philosophy. He even …I have seldom felt more sin- unknown was replaced with a nos- moved to Cole’s house in the cere joy than I experienced when talgia for the great expanse of Catskill Mountains where he stud- I learned your favourable wilderness and spectacular vistas. ied diligently for two years, includ- answer….My highest ambition Moreover, Cole was philosophically ing developing his knowledge of lies in excelling in the art. I pur- inspired by the contemporaneous botany and geology. Church sue it not as a source of gain or naturalist writers Henry David learned quickly from Cole, and in merely as an amusement. I trust Thoreau (1817–1862) and Ralph 1845 his work was shown for the I have higher aims than these…. Waldo Emmerson (1803–1882), first time in the National Academy of Design’s annual exhibition. The following year, he sold his first major work to the Wadsworth Athenaeum, and by 1848 Church was elected a full member of the National Academy of Design, becoming the youngest artist in the twenty-year history of the presti- gious institution that was co- founded by Thomas Cole and Asher B. Durand. Also in 1848, Church established his own studio in New York City, first at the Art Union Building, then, three years later, at the famous 10th Street Studio Building, home to the lead- Study for Heart of the Andes, 1858 ing artists of the day. Љ ϫ Љ Oil on canvas 10 1/4 18 1/4 Church was accustomed to trav- Olana Historical Site

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CALIFORNIA ART CLUB NEWSLETTER Spring 2008

Contents

Cover Frederic Edwin Church and the Splendour of Small-Scale Landscapes by Elaine Adams 6 Plein Air Painting: Where Did We Go Wrong? Chimborazo, 1864 by Jean Stern Oil on canvas 48Љ ϫ 84Љ 10 Gold Medallist Collection: The Huntington Library, Art Collections and Botanical Gardens Sculptor Tuan Gift of the Virginia Steele Scott Foundation Nguyen—More than Meets the Eye elling from spring through autumn paint his heroic 3 1/2 by 7 1/2 foot by Molly Siple and sketching his observations typi- work, Niagara (1857, Corcoran 13 Yosemite: Art of an cally in formats of 12 by 16 inches Gallery of Art). One of the prelimi- American Icon and on a variety of surfaces, includ- nary oil studies Church displayed by Amy Scott ing panel, canvas, and paper. In the in his studio, Horseshoe Falls, Nia- winter, he used these small-scale gara (1856–1857, Olana Historic 15 97th Annual Gold references to paint his larger can- Site), is painted on two pieces of Medal Juried Exhibi- vases in his studio. From 1852 joined paper and measures tion through 1856, he visited South 11 1/2 by 35 5/8 inches. The small 16 Collectors’ Circle America, Nova Scotia, Maine, New work prompted great impact and Corner Hampshire, Vermont, and made inspired the art magazine, The 17 Membership Programs several sketching trips to Niagara Crayon, to write: and Events Falls. In July of 1856, while in Nia- Mr Church…exhibits a sketch of gara, Church spent some time with 18 CAC News Briefs Niagara Falls, which more fully the family of Jonathan Sturges. One renders the ‘might and majesty’ 20 Introducing New CAC of the daughters, Amelia Sturges, of this difficult subject than we Interns provided a glimpse into the artist’s ever remember to have seen 22 Donor Recognition enthusiasm for plein air painting in these characteristics of it on can- a letter she wrote to her mother: 26 Museum/Gallery Exhi- vas. The point of view is happily bitions and Lectures Our cottage is now decorated by chosen, and its impressiveness a charming sketch of Niagara seems to be produced by 36 Membership News from Mr. Church’s brush. He is admirable drawing aided by a intoxicated with Niagara. He skilful subordination of acces- Advertisers rises at sunrise and we only see sories; the eye is not diverted, led 21 American Legacy Fine him at meal times. He is so rest- away, as it were, from the soul of Arts, LLC less away from the Falls that he the scene by diffuse representa- 37 Ernie Marjoram cannot keep still, always feeling tion of surrounding features. as if he were losing some new American Fine Arts Church was a member of the effect of light. Foundry elite New York gentleman’s supper Church used his sketches of club known as The Travellers. Niagara Falls from his 1856 trip to Among the membership was author

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vases. His most from his vantage ground the ambitious, com- faces of those who came to see plex, and largest it. Of course, it was intimated tropical scene, that he was fond of looking at Heart of the the pretty girls…. It happened Andes (1859, that one day…he saw in the dis- The Metropoli- tance a ravishing vision tan Museum of [Isabel]… Art), which measures nearly The couple married in 1860. On 6 by 10 feet, the eve of their wedding, the thirty- guaranteed the four-year-old Church purchased young Frederic Wynson Breezy Farm, a 126-acre Church success property perched on a hilltop over- Sunrise (aka The Rising Sun), 1862 as one of Amer- looking the Hudson River. Twenty Љ ϫ Љ Oil on canvas 10 1/2 17 15/16 ica’s most years later the farm would be Collection: Olana Historic Site famous painters. renamed Olana—the name Frederic Upon seeing and Isabel gave their home in refer- Heart of the Bayard Taylor (1825–1878) who ence to an ancient Persian “fortress Andes in Saint Louis during its while on a trip to Berlin in 1856 national tour, twenty-four-year-old treasure-house.” met with the famous Prussian natu- Samuel Clemens (Mark Twain) Church painted small-scale ralist and explorer Baron Alexan- wrote to his brother Orion: works to express his deepest emo- der von Humboldt (1769–1859). tions. In exaltation of his bride, Humboldt’s earlier explorations I have just returned from a visit and in appreciation of her spiritual to the most wonderfully beauti- through South America (1799–1804) significance in his life, Church ful painting which this city has 19 1/4 by 14 1/4 inch and his extensive descriptions of his ever seen—Church’s “Heart of painted a journey from a scientific point of the Andes.” …I have seen it sev- canvas titled The Star in the East view continued to intrigue the pub- eral times, but it is always a new (1860, Olana Historic Site). To cel- lic’s imagination. Taylor’s published picture—totally new—you seem ebrate the birth of their first child, essay based on his discussions with to see nothing the second time Herbert Edwin, in 1862, Church Humboldt inspired Church to return which you saw the first. We took painted the 10 1/2 by 17 15/16 to Ecuador in 1857 for a second the opera glass, and examined its inch canvas, Sunrise (Olana His- trip to create further detailed beauties minutely… toric Site). sketches. During the first three weeks In 1862 Church began a major of May in 1859 twelve-thousand work based on his numerous stud- n gathering unusual visual data people paid admission to see ies done from his two earlier Ifor his paintings that would not Church’s acclaimed painting while Ecuadorian trips (1852 and 1857) only intrigue the artist, but would it was still in New York, before it to be titled Chimborazo (1864, thrill his audience, Church travelled embarked on a two-year tour of Huntington Library, Art Collec- to extraordinary and extreme loca- Britain and eight other American tions, and Botanical Gardens, Vir- tions. Later, his sketches and notes cities. Perhaps the highlight of ginia Steele Scott Collection). would be used to re-create grand Church’s success while touring The Along with Heart of the Andes and opuses from the comfort of his stu- Heart of the Andes came when he Cotopaxi (1862 Detroit Institute of dio. His immediate, small-scale met Isabel Carnes of Dayton, Ohio, paintings continue to serve as a tes- his future wife. Their chance Arts), Chimborazo was to complete tament to his ability as an artist and encounter was the talk of the art his Andean Trilogy. to his scientific knowledge in geol- world and is described in the mem- According to Jessica Todd Smith, ogy and atmospheric effects. oirs of Church’s friend, artist Wor- the Virginia Steele Scott Curator of For the next decade, Church thington Whittredge (1820–1910): American Art at The Huntington devoted a great part of his atten- Library, Art Collections, and Botan- tion to South American subjects, Church was very fond of stand- ing behind some of the rich ical Gardens in San Marino, Cali- producing a celebrated series that fornia, “In painting Chimborazo, became the basis of his ensuing draperies he had arranged Church drew his inspiration from international fame. As Church’s around his picture, and if not lis- reputation and confidence began to tening to what people said about Humboldt who regarded the strato- grow, so did the size of his can- his picture, at least watching volcano as ‘…the grandest moun-

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tain in the world’ and likened it to month journey to Europe, North to [building] the new house to Michelangelo’s dome of St. Peter’s Africa, the Near East, and Greece. sketch some of the fine things Basilica in Rome; an analogy with a In 1869, while in Rome, Theodore hung in the sky. religious connotation that Church Winthrop was born. In 1870 their Olana became Frederic Church’s would have appreciated. Chimbo- third son Louis Palmer was born, private museum, in which he orches- razo’s great height of 20,561 feet and the following year their daugh- trated his personal collection to care- and location near the equator result ter Isabel Charlotte was born. fully reflect his experiences, interests, in an extraordinary level of biodi- In the 1870s FredericChurch travels and aesthetic taste. While he versity within a relatively small geo- developed severe rheumatism in his sold most of his large-scale, finished graphic area. Church sketched the right arm, which hindered his work paintings, Church adorned Olana mountain from various vantage on major pictures for the remainder with some of his most vivid oil points, ultimately selecting a view of his thirty years. Furthermore, sketches of natural phenomena and that was recommended by Hum- Olana and its surrounding property studies that were used for several of boldt, that is, from below and that had doubled in size to 250 his major works. It is in this collec- ascending visually through the three acres, absorbed much of his creative tion of smaller works that we can ecosystems, from the torrid rain time. Referred by Church as “the appreciate Frederic Church’s spon- forest, to the temperate grasslands, Centre of the World,” Olana became taneity, enthusiasm and the magic of to the frigid snow-clad peak.” his private refuge and a source of nature’s splendours. inspiration from which he painted n 1864, at the birth of brilliant sunsets and panoramic Notes: Itheir second child, Emma views of his beloved Hudson River, For scholarly contributions to this Frances, Church painted another the Catskill Mountains and the article, we wish to express our celebratory small oil painting, Taconic Hills. Some of these appreciation to Jessica Todd Smith, Moonrise (Olana Historic Site), sketches rank among the finest of the Virginia Steele Scott Curator of measuring 10 by 17 inches. Sadly, the artist’s repertoire. In a letter American Art at The Huntington in 1865 both children, Herbert and Frederic Church wrote to his friend Library, Art Collections, and Botan- Emma, died of diphtheria. The and fellow artist Martin J. Heade, he ical Gardens, where Church’s paint- Churches never completely recov- describes his inspiration from Olana: ing, Chimborazo, is on permanent ered from their loss. Shortly there- We are having splendid meteoric view. Additional research sources after, Frederic and Isabel made a displays—magnificent sunsets include Frederic Church by John K. recuperative trip to Jamaica. Then, and auroras—red, green, yellow, Howat, published by Yale Univer- in 1866, they had another son, blue—and in such profusion I sity Press, 2005; and Thomas Cole Frederic Joseph. The following year, have actually been drawn away by Earl A Powell, published by the family launched an eighteen- from my usual steady devotion Harry H. Abrams, 1990.

Olana, southwest façade Photo by Stan Ries

Study for Twilight in the Wilderness, 1858 Oil on canvas 8 1/4Љ ϫ 12 1/4Љ Olana Historic Site

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