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Frederic Edwin Church 7th8th Anniversary Anniversary Form & Function TheThe FolkFoolklk ArtAr t CollectionCollection off JerryJ andd Susan Lauren Celebrating ALSO IN THIS ISSUE: 20th-Century America Jewelry Shaker Design on Canvas Grandeur in Connecticut: Frederic Church An Americana Collection $6.95$6.95 US US/CAN Edward $8.95 CAN Potthast Early Colonial The Fourteenth Furniture Street School Minton Porcelain Americans Abroad Portrait Miniatures C1_Adelson.indd C1 1/17/08 12:26:56 PM enhanced when several of his works achieved critical recognition in London and the approval of John Ruskin, who admired Church’s great 1857 canvas, Niagara (Fig. 1). Church retained his supremacy in American landscape painting until he settled in 1872 hen, in 1855, Frederic Edwin Church began into Olana, his ornate home outside of Hudson, New York, on to exhibitW his paintings of the South American landscape, based on which construction had begun in 1870. For the first few following his first voyage there two years earlier, he was quickly recognized as years, Church continued to produce masterworks, but by the late America’s greatest landscape painter, heir to that identification 1870s, his few major pictures, such as El Rio de Luz (Fig. 2) dis- achieved by his teacher, Thomas Cole. Church’s reputation was tinctly suggest a composite memory image, as do a series of smaller The Worlds of Frederic Edwin Church by William Gerdts paintings of the 1880s. His last significant picture, The Icebergs identified the Hudson River School, of which Church was one of (Fig. 3), is a small, somber reminiscence of his great The Icebergs the last, and surely the greatest master. (Fig. 4) painted three decades earlier. Church’s retreat from the By the time Church died in 1900, he had been all but forgotten, country’s art scene corresponded to the public’s preference for the and while The Metropolitan Museum of Art in New York mounted a French-derived Barbizon aesthetic of more generalized and poetic small show of his paintings less than two months after his death, landscapes over the carefully defined, expansive interpretation that Church’s great pictures were to go unappreciated for many decades. Church’s reputation was revived in the 1960s, first by the general Fig. 1: Frederic Edwin Church (American, 1826–1900), Niagara, 1857. Oil on canvas, 41˙ x 90˙ inches. Courtesy of Corcoran Gallery of Art, appreciation of mid-nineteenth century American painting that Washington, D.C. Museum purchase, Gallery Fund. 76.15. resulted from the formation and publication of the M. and M. Karolik collection of American paintings by the Fig. 2: Frederic Edwin Church (American, scientist, naturalist, and travel writer Alexander Museum of Fine Arts, Boston, and, more 1826–1900), El Rio de Luz (The River of Light), von Humboldt, who challenged landscape 1877. Oil on canvas. 54˚ x 84Δ inches. specifically, through the efforts of the late art Courtesy of National Gallery of Art, Washington, painters to depict the incredible variety of historian David C. Huntington, who com- D.C. Gift of the Avalon Foundation 1965.14.1. scenic beauty that he had discovered in his pleted his dissertation on Church at Yale travels there between 1794 and 1799. University in 1966 and subsequently became Church’s early American pictures partake of This became Church’s mandate. Though not instrumental in the renovation of Olana, now a the nationalism that was rampant in the mid- the first American artist to travel to South center for Church study and scholarship.1 At nineteenth century, as evident among the America — the Boston portraitist John Green- that time, Church was esteemed primarily for landscape painters — Church included — wood had gone to Surinam in 1752, and in Niagara and his South American landscapes of who later became known as the “Hudson River 1845, New York landscape painter Jacob Ward the later 1850s and early ‘60s. More recently, School” (originally a term of disparagement traveled extensively through the region2 — recognition has been awarded to the North coined when the works had gone out of favor). Church’s excursion there can be seen as a fur- American landscapes, both those painted In the late 1840s and the early ‘50s, this ther extolling of the romantic ideal of a pastoral immediately following his study with Cole, Connecticut-born painter kept very much to New World, this one even less contaminated by such as New England Landscape with Ruined New England, creating an amalgam of his European “civilization” than his own country. Chimney (Fig. 5), painted in 1846, which visual experiences on canvases that reflect the Church and his friend Cyrus Field left New repeats his teacher’s concern for the passage of optimistic belief in the harmony of man with York in April 1853 and traveled to Colombia, time and even adopts the oval format of a nature in pre-Civil War America. By 1852, arriving at the mouth the Magdalena River. His number of Cole’s domestic scenes of the 1840s, however, Church was determined to travel to letters home address the interesting nature of and more mature works of the early 1850s. South America, inspired by the writings of the the villages through which he passed and the THIS PAGE, TOP TO BOTTOM: Fig. 4: Frederic Edwin Church (American, 1826–1900), The Icebergs 1861. Oil on canvas, 64˙ x 112˙ inches. Courtesy of Dallas Museum of Art. Anonymous gift. Fig. 3: Frederic Edwin Church (American, 1826–1900), The Iceberg, 1891. Oil on canvas, 20 x 30 inches. Courtesy of Carnegie Museum of Art, Pittsburgh, PA. 72.2.3. natural scenery that he was sketching, and upon which he drew for later pictures such as the sev- eral versions of his View on the Magdalena River (Fig. 6), in which he introduces the single palm tree, his most consistent trope in his South American landscapes. Church and Field next visited Bogota, but their goal was Quito, Ecuador, which they reached on August 30, 1853. The high volcanic Andean peaks to the north and south of the over the tropical landscape. In these paintings Cayambe are among those shown — but on capital became the basis for Church’s most cele- Church presents a “new” New World, one the combination of vastness and variety of an brated South American landscapes. Cotopaxi, which stretches from the tropics to snow- almost other-worldly nature. the mountain singled out by Humboldt as the capped peaks, and sees nature in harmony with Church made a second visit to South highest, most beautiful, and also most dan- itself, the figures, and occasional buildings, America in 1857, this time only to Ecuador, gerous, particularly figured in Church’s shrines and cross-shaped grave markers. But accompanied by his fellow landscape painter, repertory when, back in New York, he began Church reached his first pinnacle of fame with and sometime emulator, Louis Remy Mignot. developing his South American sketches into his large and sublime The Andes of Ecuador On this trip, Church concentrated especially on finished paintings in 1855. In Cotopaxi (Fig. (Fig. 8), here concentrating not on a single oil studies of Chimborazo, which he later 7), the volcano, still active but benign, towers Andean peak — though Cotopaxi and worked up in his studio in the new Tenth Street Studio Building in New York. Church was one Eruption of Cotopaxi (Fig. 11). This later Fig. 6: Frederic Edwin Church (American, 1826–1900), of its first tenants, and it was in the large gallery view of Cotopaxi reverses the harmonious nat- View on the Magdalena River, 1857. there that his most celebrated South American ural interplay of his 1850s versions. Not Oil on canvas, 23ƒ x 36 inches. masterwork, The Heart of the Andes (Fig. 9) was surprisingly, this richly lit and high-colored yet Private collection. viewed by an ecstatic public. barren landscape of opposing natural forces South America ceased to be featured in has been interpreted as reflective of the visiting Jamaica in 1865 while recovering from Church’s oeuvre for the next few years, turmoil of the Civil War at home. the death of four of his children, two of whom returning in the artist’s explosive Cotopaxi Church made one more artistically signifi- had died in March of that year. The trip (Fig. 10) related to the smaller oil version, cant trip to Latin, if not South, America, resulted in his vast canvas The Vale of St. Thomas, Jamaica (Fig. 12), a jungle scene in serious arthritic condition and general ill which a violent rain storm at the left seems to health yielded only some oil sketches. clear the landscape to lay out its beauty and In the late 1850s, Church’s exploration of infinite expanse. In subsequent years, as New World territories had also taken him to Church was drawn more to the Old World, Newfoundland and Labrador in the frozen South America functioned, not as a source of north, areas that had drawn explorers seeking discovery and inspiration, but of nostalgia, the Northwest Passage from the Atlantic to the THIS PAGE, TOP TO BOTTOM: such as in his Tropical Scenery (Fig. 13), Pacific. Sir John Franklin’s ill-fated explorations Fig. 5: Frederic Edwin Church painted in 1873, many years after his visits to of 1847 brought the region to public — and (American, 1826–1900), New England Landscape with Ruined Chimney, 1846. South America, and lacking either specificity artistic — attention. In mid-1859, in the com- Oil on panel, 9© x 13¬ inches. Private collection. of form or geological identification. Humanity pany of Louis Legrand Noble, Church traveled has greater presence here, too, than in his ear- from Boston to Halifax and Sydney in Nova Fig.
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