Thomas Cole Thomas Cole Was Recognized As the “Father
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
The Hudson River School
Art, Artists and Nature: The Hudson River School The landscape paintings created by the 19 th century artist known as the Hudson River School celebrate the majestic beauty of the American wilderness. Students will learn about the elements of art, early 19 th century American culture, the creative process, environmental concerns and the connections to the birth of American literature. New York State Standards: Elementary, Intermediate, and Commencement The Visual Arts – Standards 1, 2, 3, 4 Social Studies – Standards 1, 3 ELA – Standards 1, 3, 4 BRIEF HISTORY By the mid-nineteenth century, the United States was no longer the vast, wild frontier it had been just one hundred years earlier. Cities and industries determined where the wilderness would remain, and a clear shift in feeling toward the American wilderness was increasingly ruled by a new found reverence and longing for the undisturbed land. At the same time, European influences - including the European Romantic Movement - continued to shape much of American thought, along with other influences that were distinctly and uniquely American. The traditions of American Indians and their relationship with nature became a recognizable part of this distinctly American Romanticism. American writers put words to this new romantic view of nature in their works, further influencing the evolution of American thought about the natural world. It found means of expression not only in literature, but in the visual arts as well. A focus on the beauty of the wilderness became the passion for many artists, the most notable came to be known as the Hudson River School Artists. The Hudson River School was a group of painters, who between 1820s and the late nineteenth century, established the first true tradition of landscape painting in the United States. -
Annual Report 1995
19 9 5 ANNUAL REPORT 1995 Annual Report Copyright © 1996, Board of Trustees, Photographic credits: Details illustrated at section openings: National Gallery of Art. All rights p. 16: photo courtesy of PaceWildenstein p. 5: Alexander Archipenko, Woman Combing Her reserved. Works of art in the National Gallery of Art's collec- Hair, 1915, Ailsa Mellon Bruce Fund, 1971.66.10 tions have been photographed by the department p. 7: Giovanni Domenico Tiepolo, Punchinello's This publication was produced by the of imaging and visual services. Other photographs Farewell to Venice, 1797/1804, Gift of Robert H. and Editors Office, National Gallery of Art, are by: Robert Shelley (pp. 12, 26, 27, 34, 37), Clarice Smith, 1979.76.4 Editor-in-chief, Frances P. Smyth Philip Charles (p. 30), Andrew Krieger (pp. 33, 59, p. 9: Jacques-Louis David, Napoleon in His Study, Editors, Tarn L. Curry, Julie Warnement 107), and William D. Wilson (p. 64). 1812, Samuel H. Kress Collection, 1961.9.15 Editorial assistance, Mariah Seagle Cover: Paul Cezanne, Boy in a Red Waistcoat (detail), p. 13: Giovanni Paolo Pannini, The Interior of the 1888-1890, Collection of Mr. and Mrs. Paul Mellon Pantheon, c. 1740, Samuel H. Kress Collection, Designed by Susan Lehmann, in Honor of the 50th Anniversary of the National 1939.1.24 Washington, DC Gallery of Art, 1995.47.5 p. 53: Jacob Jordaens, Design for a Wall Decoration (recto), 1640-1645, Ailsa Mellon Bruce Fund, Printed by Schneidereith & Sons, Title page: Jean Dubuffet, Le temps presse (Time Is 1875.13.1.a Baltimore, Maryland Running Out), 1950, The Stephen Hahn Family p. -
The Charles Hosmer Morse Museum of American Art Receives the Extraordinary American Art Collection of Theodore E
March 9, 2021 CONTACT: FOR IMMEDIATE RELEASE Emily Sujka Cell: (407) 907-4021 Office: (407) 645-5311, ext. 109 [email protected] The Charles Hosmer Morse Museum of American Art Receives the Extraordinary American Art Collection of Theodore E. Stebbins Jr. and Susan Cragg Stebbins Note to Editors: Attached is a high-resolution image of Theodore E. Stebbins Jr. and Susan Cragg Stebbins. Images of several paintings in the gift are available via this Dropbox link: https://www.dropbox.com/sh/7d3r2vyp4nyftmi/AABg2el2ZCP180SIEX2GTcFTa?dl=0. WINTER PARK, FL—Theodore E. Stebbins Jr. and Susan Cragg Stebbins have given their outstanding collection of American art to The Charles Hosmer Morse Museum of American Art in Winter Park, Florida. The couple have made their gift in honor of Mrs. Stebbins’s parents, Evelyn and Henry Cragg, longtime residents of Winter Park. Mr. Cragg was a member of the Charles Homer Morse Foundation board of trustees from its founding in 1976 until his death in 1988. It is impossible to think about American art scholarship, museum culture, and collecting without the name Theodore Stebbins coming to mind. Stebbins has had an illustrious career as a professor of art history and as curator at the Yale University Art Gallery (1968–77), the Museum of Fine Arts, Boston (1977–2000), and the Harvard Art Museums (2001–14). Many of Stebbins’s former students occupy positions of importance throughout the art world. Among his numerous publications are his broad survey of American works on paper, American Master Drawings and Watercolors: A History of Works on Paper from Colonial Times to the Present (1976), and his definitive works on American painter Martin Johnson Heade (1819–1904) including the Life and Work of Martin Johnson Heade (2000). -
Read Book American Wilderness the Story of the Hudson River School
AMERICAN WILDERNESS THE STORY OF THE HUDSON RIVER SCHOOL OF PAINTING 1ST EDITION PDF, EPUB, EBOOK Kevin J Avery | 9781883789572 | | | | | American Wilderness The Story of the Hudson River School of Painting 1st edition PDF Book Here, he painted many of his Hudson River School works of art, eventually marrying the niece of Cedar Grove's owner and relocating to the area permanently. In a period of six years, Reed had assembled a significant collection of European and American art, which he displayed in a two- room gallery in his lower Manhattan home on Greenwich Street. SKU Morse In , Cole, then a calico designer, had a cordial meeting with Doughty, in Philadelphia, and the men encouraged each other to follow their aesthetic interest. In retrospect the main benefit to Cole of returning to England was seeing paintings by J. One of the uncles, Alexander Thomson, continued ownership, and the Coles shared living space with the Thomson family. Artists with a connection to these places:. Sign In. The Editors of Encyclopaedia Britannica Encyclopaedia Britannica's editors oversee subject areas in which they have extensive knowledge, whether from years of experience gained by working on that content or via study for an advanced degree However, recognition of the key roles of these early Hudson River painters in our fine-art heritage is increasing. Members included William Cullen Bryant , prominent literary figure, and historical-genre painter Samuel S. An American art journal called The Crayon, published between and , reinforced the Hudson River School painters and promoted the idea that nature was a healing place for the human spirit. -
Lackawanna Valley
MAN and the NATURAL WORLD: ROMANTICISM (Nineteenth-Century American Landscape Painting) NINETEENTH-CENTURY AMERICAN LANDSCAPE PAINTING Online Links: Thomas Cole – Wikipedia Hudson River School – Wikipedia Frederic Edwin Church – Wikipedia Cole's Oxbow – Smarthistory Cole's Oxbow (Video) – Smarthistory Church's Niagara and Heart of the Andes - Smarthistory Thomas Cole. The Oxbow (View from Mount Holyoke, Northampton, Massachusetts, after a Thunderstorm), 1836, oil on canvas Thomas Cole (1801-1848) was one of the first great professional landscape painters in the United States. Cole emigrated from England at age 17 and by 1820 was working as an itinerant portrait painter. With the help of a patron, he traveled to Europe between 1829 and 1832, and upon his return to the United States he settled in New York and became a successful landscape painter. He frequently worked from observation when making sketches for his paintings. In fact, his self-portrait is tucked into the foreground of The Oxbow, where he stands turning back to look at us while pausing from his work. He is executing an oil sketch on a portable easel, but like most landscape painters of his generation, he produced his large finished works in the studio during the winter months. Cole painted this work in the mid- 1830s for exhibition at the National Academy of Design in New York. He considered it one of his “view” paintings because it represents a specific place and time. Although most of his other view paintings were small, this one is monumentally large, probably because it was created for exhibition at the National Academy. -
Mackenzie, Donald Ralph. PAINTERS in OHIO, 1788-1860, with a BIOGRAPHICAL INDEX
This dissertation h been microfilmed exactly as received Mic 61—925 MacKENZIE, Donald Ralph. PAINTERS IN OHIO, 1788-1860, WITH A BIOGRAPHICAL INDEX. The Ohio State University, Ph.D., 1960 Fine A rts University Microfilms, Inc., Ann Arltor, Michigan Copyright by Donald Ralph MacKenzie 1961 PAINTERS IN OHIO, 1788-1860 WITH A BIOGRAPHICAL INDEX DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy In the Graduate School of The Ohio State University By Donald Ralph MacKenzie, B. A., M. S. ****** The Ohio State University 1960 Approved by /Adviser* School oC Fine and Applied Arts PREFACE In 1953, when the author was commissioned to assemble and catalogue the many paintings owned by the Ohio Historical Society, it quickly became apparent that published reference works on early mid- western painters were sadly lacking. At that time the only source books were the standard biographical indexes of American artists, such as Mallett's Index of Artists and Mantle Fielding's Dictionary of Amer ican Painters. Sculptors and Engravers. The mimeographed WPA Histori cal Survey American Portrait Inventory (1440 Early American Portrait Artists I6b3-1860) furnished a valuable research precedent, which has since been developed and published by the New York Historical Society as the Dictionary of Artists in America 1564-1860. While this last is a milestone in research in American art history, the magnitude of its scope has resulted in incomplete coverage of many locales, especially in the Middlewest where source material is both scarce and scattered. The only book dealing exclusively with the Ohio scene is Edna Marie Clark's Ohio Art and Artists, which was published in 1932. -
Nicholas Longworth 17 Nicholas Longworth: Art Patron of Cincinnati
Spring 1988 Nicholas Longworth 17 Nicholas Longworth: Art Patron of Cincinnati Abby S. Schwartz ... A little bit of an ugly man came in...he came forward and, taking my hand and squeezing it hard, he looked at me with a keen, earnest gaze. ... His manners are extremely rough and almost course, but his shrewd eyes and plain manner hide a very strong mind and generous heart.1 These observations made in 1841 by the young artist Lilly Martin Spencer hardly seem appropriate for a man who was among America's wealthiest and one of Cin- cinnati's most prominent citizens. Described by another contemporary as "dry and caustic in his remarks" and "plain and careless in his dress, looking more like a beggar than a millionaire,"2 Nicholas Longworth, however eccentric and controversial, was a leading Cincinnati art patron as well as an outstanding collector and a generous supporter of the arts during the middle of the nineteenth century. Longworth's eccentricities of dress and behav- ior are well documented in photographs, portraits, and anec- dotes. While the Portrait of Nicholas Longworth by Robert Scott Duncanson (1 821-1872) portrays the subject as an important property owner and vintner, the work also docu- ments Longworth's eccentric habit of pinning notes to his suit cuffs to remind himself of important errands and appoint- ments. The portrait, painted in 18 5 8, is on permanent loan to the Cincinnati Art Museum from the Ohio College of Applied Science. An often repeated anecdote details young Abraham Lincoln's visit to Longworth's renowned gardens During the years he resided at Belmont (now where Lincoln mistook the master of the house for a gardener: the Taft Museum), 1830 until his death in 18 6 3, Longworth In the middle of the gravel path leading to a pillared portico, a amassed a personal art collection, assisted a number of artists small, queerly dressed old man, with no appearance whatever offinancially, offered advice and letters of introduction to having outgrown his old-fashioned raiment, was weeding. -
An Eye for Landscapes That Transcend Nature,” the New York Times, May 22, 2009
Genocchio, Benjamin. “An Eye for Landscapes That Transcend Nature,” The New York Times, May 22, 2009. An Eye for Landscapes That Transcend Nature One’s lasting impression of the April Gornik exhibition at the Heckscher Museum of Art in Huntington is the sheer virtuosity of the pictures. They glow with mystery and grandeur. Landscape painting of this quality is not often seen on Long Island. Assembled by Kenneth Wayne, the museum’s chief curator, the show focuses on the artist’s powerful, large-scale oil paintings. There are a dozen pictures, created roughly from the late 1980s to the present, nicely displayed in two of the Heckscher’s newly renovated galleries. The removal of a false ceiling in them has allowed the museum to accommodate much larger works than it could before. New Horizons. The large-scale oil paintings by April Gornik on display at the Heckscher include “Sun Storm Sea” (2005). At 56, Ms. Gornik is already a painter of eminence. She has had shows around the world, and her work is in several major museum collections, including those of the Metropolitan Museum of Art, the Museum of Modern Art and the Whitney Museum of American Art. I would place her among the top landscape artists working in America today. That this is Ms. Gornik’s first major solo exhibition on Long Island in more than 15 years seems an oversight, especially given that she lives part of the year in Suffolk County. But better late than never, for there are probably dozens of artists living and working on Long Island who are deserving of shows. -
The Hudson River School at the New-York Historical Society: Nature and the American Vision
The Hudson River School at the New-York Historical Society: Nature and the American Vision Marie-François-Régis Gignoux (1814–1882) Mammoth Cave, Kentucky , ca. 1843 Oil on canvas Gift of an Anonymous Donor, X.21 After training at the French École des Beaux-Arts , Gignoux immigrated to the United States, where he soon established himself as a landscape specialist. He was drawn to a vast underground system of corridors and chambers in Kentucky known as Mammoth Cave. The site portrayed has been identified as the Rotunda—so named because its grand, uninterrupted interior space recalls that of the Pantheon in Rome. Gignoux created a romantic image rooted in fact and emotion. In contrast to the bright daylight glimpsed through the cavern mouth, the blazing fire impresses a hellish vision that contemporaneous viewers may have associated with the manufacture of gunpowder made from the bat guano harvested and rendered in vats in that very space since the War of 1812. William Trost Richards (1833–1905) June Woods (Germantown) , 1864 Oil on linen The Robert L. Stuart Collection, S–127 Richards followed the stylistic trajectory of the Hudson River School early in his career, except for a brief time in the early 1860s, when he altered his technique and compositional approach in response to the Pre-Raphaelite aesthetics of the English critic John Ruskin. Ruskin’s call for absolute fidelity to nature manifested itself in the United States in a radical 1 group of artists who formed the membership of the Association for the Advancement of Truth in Art, to which Richards was elected in 1863. -
Nature and the American Vision: the Hudson River School
Nature and the American Vision: The Hudson River School “The painter of American scenery has indeed privileges superior to any other; all nature here is new to Art.” —Thomas Cole Nature and the American Vision: The Hudson River School is designed as a grand tour of the nineteenth-century American landscape, and the paintings on view reveal much about issues of national identity, westward expansion, mistreatment of the native population, and the beginnings of environmentalism in the United States. These curriculum materials are intended to help teachers discuss the paintings of the Hudson River School, in hopes that the works explored here can be used to create lessons in social science, language arts, geography, natural history, and science, among other subjects. The Hudson River School, which emerged by 1825 and continued to thrive until the end of the nineteenth century, was the first truly American art movement. While the term “Hudson River School” originated as a dismissive nickname referring to the perceived provincialism of its members, in time it came to represent a distinctive and vibrant movement devoted to the depiction of untamed American scenery as a symbol of America’s independent spirit. In Europe, writers and painters were exploring landscape as a vehicle through which to communicate universal truths, and landscape painting was acquiring more prestige as nature was increasingly associated with spirituality and the divine in Western culture. As these ideas spread to the United States, landscape acquired new connotations within American culture. The Hudson River School celebrated the exploration of the natural world as a source of spiritual renewal and an expression of national identity. -
View from Mount Holyoke (The Oxbow), 1836
THOMAS COLE [1801–1848] 5a View from Mount Holyoke (The Oxbow), 1836 “The imagination can scarcely conceive Arcadian vales more Intent on producing a crowd-pleaser, Cole adopted a trick from lovely or more peaceful than the valley of the Connecticut,” the panorama, a theatrical display in which an enormous picture wrote the artist Thomas Cole in his “Essay on American is revealed to the spectator one section at a time. On a canvas Scenery.” “Its villages are rural places where trees overspread nearly six feet wide, Cole painted the view from the top of the every dwelling, and the fields upon its margin have the richest mountain as though it were experienced over time, with a dra- verdure.” This idealized view of rural America was already start- matic storm thundering through the landscape. On the right ing to collapse when Cole painted View from Mount Holyoke, side of the picture lies the Arcadia that Cole described in his also known as The Oxbow. By the 1830s, Mount Holyoke had essay — an idyllic place with tidy farms, a respectable number become one of the most popular tourist destinations in the of shade trees, and a meandering river to enrich the soil. The United States, surpassed only by Niagara Falls, and the influx of distinctive feature of this peaceful place is the river’s graceful sightseers was bound to disrupt its pastoral atmosphere. In bend into a U-shape that recalls an oxbow, itself an emblem selecting this corner of the country to preserve in a monumen- of human control over nature. -
Literaturverzeichnis
Literaturverzeichnis Quellentexte „An Act to Organize the Territories of Nebraska and Kansas“, in: Th e Nebraska-Kansas Act of 1854, hrsg. v. John R. Wunder und Joann M. Ross, Lincoln: University of Nebraska Press, 2008, S. 183-207. „An Act to provide for the more effi cient Government of the Rebel States“, in: Th e Statutes at Large, Treaties, and Proclamations of the United States of America, Bd. 14: From Decem- ber, 1865, to March, 1867, hrsg. v. George P. Sanger, Boston: Little, Brown, and Com- pany, 1868, S. 428-430. Addison, Joseph, Sir Richard Steele u.a., Th e Spectator: In Four Volumes, Bd. 3, hrsg. v. Gregory Smith, eingef. v. Peter Smithers, London: J. M. Dent & Sons Ltd., 1958. Apess, William, On Our Own Ground: Th e Complete Writings of William Apess, a Pequot, hrsg. und eingef. v. Barry O’Connell, Amherst: University of Massachusetts Press, 1992. Aristoteles, Poetik: Griechisch/Deutsch, übers. und hrsg. v. Manfred Fuhrmann, Stuttgart: Reclam, 1982. – Politik, übers. u. eingef. v. Günther Bien, Hamburg: Felix Meiner, 1990. Black Hawk, Life of Black Hawk or Mà-ka-tai-me-she-kià-kiàk. Dictated by Himself, hrsg. und eingef. v. J. Gerald Kennedy, New York: Penguin, 2008. Browning, Robert, Robert Browning, hrsg. v. Adam Roberts, eingef. v. Daniel Karlin, Ox- ford: Oxford University Press, 1997. Brownson, Orestes, Th e American Republic, in: ders., Th e Works of Orestes A. Brownson, Bd. 18, hrsg. v. Henry F. Brownson, Detroit: H. F. Brownson, 1905, S. 1-222. Burke, Edmund, A Philosophical Enquiry into the Origins of our Ideas of the Sublime and Beautiful, Oxford: Oxford University Press, 1998.