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Hudson River School
Hudson River School 1796 1800 1801 1805 1810 Asher 1811 Brown 1815 1816 Durand 1820 Thomas 1820 1821 Cole 1823 1823 1825 John 1826 Frederick 1827 1827 1827 1830 Kensett 1830 Robert 1835 John S Sanford William Duncanson David 1840 Gifford Casilear Johnson Jasper 1845 1848 Francis Frederic Thomas 1850 Cropsey Edwin Moran Worthington Church Thomas 1855 Whittredge Hill 1860 Albert 1865 Bierstadt 1870 1872 1875 1872 1880 1880 1885 1886 1910 1890 1893 1908 1900 1900 1908 1908 1902 Compiled by Malcolm A Moore Ph.D. IM Rocky Cliff (1857) Reynolds House Museum of American Art The Beeches (1845) Metropolitan Museum of Art Asher Brown Durand (1796-1886) Kindred Spirits (1862) Crystal Bridges Museum of American Art The Fountain of Vaucluse (1841) Dallas Museum of Art View from Mount Holyoke, Northampton, Massachusetts, after a Thunderstorm - the Oxbow. (1836) Metropolitan Museum of Art Thomas Cole (1801-48) Distant View of Niagara Falls (1836) Art Institute of Chicago Temple of Segesta with the Artist Sketching (1836) Museum of Fine Arts, Boston John William Casilear (1811-1893) John Frederick Kensett (1816-72) Lake George (1857) Metropolitan Museum of Art View of the Beach at Beverly, Massachusetts (1869) Santa Barbara Museum of Art David Johnson (1827-1908) Natural Bridge, Virginia (1860) Reynolda House Museum of American Art Lake George (1869) Metropolitan Museum of Art Worthington Whittredge (1820-1910) Jasper Francis Cropsey (1823-1900) Indian Encampment (1870-76) Terra Foundation for American Art Starrucca Viaduct, Pennsylvania (1865) Toledo Museum of Art Sanford Robinson Gifford (1823-1880) Robert S Duncanson (1821-1902) Whiteface Mountain from Lake Placid (1866) Smithsonian American Art Museum On the St. -
Thomas Cole Thomas Cole Was Recognized As the “Father
Thomas Cole Thomas Cole was recognized as the “father of the Hudson River School of painting and hence one of the figures most directly involved in the development of a native tradition of American art...” He was “considered by his contemporaries the leading landscape painter in America...” Thomas Cole was born on February 1, 1801, in Lancashire, England. He was seventh of eight children and the only son of James and Mary Cole. His father was a woolen manufacturer who fell on hard times. Because of this, they moved to a nearby town where Thomas was apprenticed as a calico designer and where he learned the art of engraving. He especially enjoyed walking in the countryside with his youngest sister, playing the flute, and composing poetry. He was an avid reader and became interested in the natural beauties of the North American states. Thomas’ father caught his son’s enthusiasm. He moved his family to Philadelphia where he began business as a dry goods merchant. Thomas took up the trade of wood engraving. The family was soon moved again. This time to Steubenville, Ohio, but Thomas remained in Philadelphia. Not long afterwards, he sailed to St. Eustatius in the West Indies where he made sketches of what to him was nature in a grand form of wonder and beauty. A few months later, he returned to the US and joined his father in Ohio. There he helped his father by drawing and designing patterns for wallpaper. A book offered to him by a German portrait painter gave him information on design, composition, and color. -
Durand Release
COMMUNICATIONS DIVISION VIRGINIA MUSEUM OF FINE ARTS 200 N. Boulevard I Richmond, Virginia 23220 www.VMFA.museum/pressroom FOR IMMEDIATE RELEASE Dec. 13, 2018 Asher B. Durand’s Progress, Most Valuable Gift of a Single Work of Art in VMFA’s History, Enters Museum Collection Gift marks first time the painting has been in public domain since its creation in 1853 Richmond, VA––The Virginia Museum of Fine Arts recently received the generous anonymous gift of Asher B. Durand’s painting Progress (The Advance of Civilization), which was approved by the VMFA Board of Trustees yesterday. One of the most important works of American art in private hands, this is the highest valued gift of a single work of art in VMFA’s history, and represents the first time the painting has been held outside of private collections since it was painted in 1853. Because of the extraordinary generosity of the donor, this beloved, canonical painting now enters the public domain, allowing the citizens of Virginia to be among the first to benefit from its presence in its new home at VMFA. Commissioned by the financier and industrialist Charles Gould (1811–1870), this work complements VMFA’s collection of paintings by other Hudson River School artists, including Thomas Cole, Jasper Francis Cropsey, Frederic Edwin Church, George Inness and Robert Seldon Duncanson. Only a handful of masterpieces in American art—including Thomas Cole’s The Oxbow and George Inness’s The Lackawanna Valley (which hang in the Metropolitan Museum of Art and the National Gallery of Art respectively)—rival Progress in dramatizing the meeting of nature and civilization. -
Charles Augustus Sommer (1829-1894)
Charles Augustus Sommer (1829-1894) Born in Germany in 1929, Charles Augustus Sommer is known for his paintings of the Catskill and Adirondack regions. While biographical details of Sommer’s life are scarce information gleaned from archival sources reveal that Sommer held a studio in New York City at 896 Broadway between 1867 and 1872 and was working as a landscape painter. Sommer participated in three consecutive Winter Exhibitions held at the National Academy of Design between 1868 and 1870. His work included Cascade in the Adirondacks, Coast of Connecticut, Connecticut Shore and Tyrol Mountains. In 1868, Leed’s Art Galleries on Broadway held an exhibition and sale of Sommer’s landscapes. Included in the sale were a few landscapes painted by the artist’s wife. Sommer’s work included scenes such as Morning at Catskill Clove and Cascade in the Adirondacks. A critic for the New York Daily Herald noted that Sommer’s paintings reveal, “…how faithfully he has studied the peculiarities of American scenery.”1 In November of 1868 the Brooklyn Art Association held a reception at the Academy of Music. Invited guests of the elite and highly anticipated event included General Grant and Admiral Farragut. Sommer’s work was shown along with other notable artists including Regis Gignoux (1816-1882). A critic for the Brooklyn Daily Eagle included Sommer and Gignoux on a short list of artists whose work he thought to be remarkable and worthy of inspection. He described a painting by Sommer’s as, “…a very striking picture, representing the sun setting over the expance [sic] of flat country, relieved here and there by trees. -
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. -
Asher Brown Durand Papers
Asher Brown Durand papers Archives of American Art 750 9th Street, NW Victor Building, Suite 2200 Washington, D.C. 20001 https://www.aaa.si.edu/services/questions https://www.aaa.si.edu/ Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Scope and Contents........................................................................................................ 1 Scope and Contents........................................................................................................ 2 Scope and Contents........................................................................................................ 2 Biographical / Historical.................................................................................................... 1 Names and Subjects ...................................................................................................... 2 Container Listing ...................................................................................................... Asher Brown Durand papers AAA.duraashe Collection Overview Repository: Archives of American Art Title: Asher Brown Durand papers Identifier: AAA.duraashe Date: 1812-1883 Creator: Durand, Asher Brown, 1796-1886 Extent: 4 Reels (ca. 1000 items (on 4 microfilm reels)) Language: English . Administrative Information Acquisition Information Microfilmed 1956 by -
John Appleton Brown, New England Landscape Painter
John Appleton Brown, New England Landscape Painter In paint and pastels, John Appleton Brown captured Abbey were working. Brown’s paintings of the the gentle hills, open fields, blossom-laden orchards, English countryside, much like in New England, meandering streams, and marshes of West Newbury were well received in Boston. and its surrounds in pictures that “make[ ] you think In the 1890s, Brown’s success had expanded well of the happy places that you have seen, and the beyond Boston. When he participated in an art show happy events that have occurred in your summer in Chicago, a reviewer described Brown’s picture days….” Brown was born here on July 12, 1844, the “In the Month of May” as “a brilliant, joyous study second of two sons of George Frederick Handel of apple-blossoms and sunny greens.” In 1891, the Brown (a combmaker) and Asenath L. Page. In his Browns moved from Boston to New York City, childhood, his parents saw and encouraged his talent which offered a more vibrant arts scene. In 1893 and his interest in nature around him. According to Brown received a medal at the World’s Columbian biographer Frank Torrey Robinson, Brown “could Exposition in Chicago. gaze from his windows down on to the slope that reached the banks of the Merrimac, and could feel Throughout, Agnes and Appleton Brown traveled the charms of the lights that spread over the snowy each summer to their West Newbury home, where hills or green fields of the upland country; these they sketched and painted scenes in the countryside. -
NHHS Consuming Views
CONTRIBUTORS Heidi Applegate wrote an introductory essay for Hudson River Janice T. Driesbach is the director of the Sheldon Memorial Art School Visions: The Landscapes of Sanford R. Gifford (Metro- Gallery and Sculpture Garden at the University of Nebraska- politan Museum of Art, 2003). Formerly of the National Lincoln. She is the author of Direct from Nature: The Oil Gallery of Art, she is now a doctoral candidate in art history at Sketches of Thomas Hill (Yosemite Association in association Columbia University. with the Crocker Art Museum, 1997). Wesley G. Balla is director of collections and exhibitions at the Donna-Belle Garvin is the editor of Historical New Hampshire New Hampshire Historical Society. He was previously curator and former curator of the New Hampshire Historical Society. of history at the Albany Institute of History and Art. He has She is coauthor of the Society’s On the Road North of Boston published on both New York and New Hampshire topics in so- (1988), as well as of the catalog entries for its 1982 Shapleigh cial and cultural history. and 1996 Champney exhibitions. Georgia Brady Barnhill, the Andrew W. Mellon Curator of Elton W. Hall produced an exhibition and catalog on New Bed- Graphic Arts at the American Antiquarian Society, is an au- ford, Massachusetts, artist R. Swain Gifford while curator of thority on printed views of the White Mountains. Her “Depic- the Old Dartmouth Historical Society. Now executive director tions of the White Mountains in the Popular Press” appeared in of the Early American Industries Association, he has published Historical New Hampshire in 1999. -
American Paintings, Furniture & Decorative Arts
AMERICAN PAINTINGS, FURNITURE & DECORATIVE ARTS INCLUDING PROPERTY FROM THE COLLECTION OF FRANK AND CLAIRE TRACY GLASER Tuesday, October 8, 2019 NEW YORK AMERICAN PAINTINGS, FURNTURE & DECORATIVE ARTS INCLUDING PROPERTY FROM THE COLLECTION OF FRANK AND CLAIRE TRACY GLASER AUCTION Tuesday, October 8, 2019 at 10am EXHIBITION Friday, October 4, 10am – 5pm Saturday, October 5, 10am – 5pm Sunday, October 6, Noon – 5pm LOCATION Doyle 175 East 87th Street New York City 212-427-2730 www.Doyle.com Catalog: $10 The Marian Sulzberger Heiskell & Andrew Heiskell Collection Doyle is honored to present The Marian Sulzberger Heiskell and Andrew Heiskell Collection in select auctions throughout the Fall season. A civic leader and philanthropist, Marian championed outdoor community spaces across AMERICAN New York and led a nonprofit organization responsible for restoring the 42nd Street theatres. She was instrumental in the 1972 campaign PAINTINGS, SCULPTURE & PRINTS to create the Gateway National Recreation Area, a 26,000-acre park with scattered beaches and wildlife refuges around the entrance to the New York-New Jersey harbor. For 34 years, she worked as a Director of The New York Times, where her grandfather, father, husband, brother, nephew and grand-nephew served as successive publishers. Her work at the newspaper focused on educational projects. In 1965, Marian married Andrew Heiskell, the Chairman of Time Inc., whose philanthropies included the New York Public Library. The New York Times The New York Property from The Marian Sulzberger Heiskell and Andrew Heiskell Collection comprises lots 335-337, 345-346, 349, 354 in the October 8 auction. Additional property from the Collection will be offered in the sales of Fine Paintings (Oct 15), Prints & Multiples (Oct 22), English & Continental Furniture & Old Master Paintings (Oct 30), Impressionist & Modern Art (Nov 6), Post-War & Contemporary Art (Nov 6), Books, Autographs & Maps (Nov 12), Bill Cunningham for Doyle at Home (Nov 26) and Photographs (Dec 11). -
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). -
Passing Through: the Allure of the White Mountains
Passing Through: The Allure of the White Mountains The White Mountains presented nineteenth- century travelers with an American landscape: tamed and welcoming areas surrounded by raw and often terrifying wilderness. Drawn by the natural beauty of the area as well as geologic, botanical, and cultural curiosities, the wealthy began touring the area, seeking the sublime and inspiring. By the 1830s, many small-town tav- erns and rural farmers began lodging the new travelers as a way to make ends meet. Gradually, profit-minded entrepreneurs opened larger hotels with better facilities. The White Moun- tains became a mecca for the elite. The less well-to-do were able to join the elite after midcentury, thanks to the arrival of the railroad and an increase in the number of more affordable accommodations. The White Moun- tains, close to large East Coast populations, were alluringly beautiful. After the Civil War, a cascade of tourists from the lower-middle class to the upper class began choosing the moun- tains as their destination. A new style of travel developed as the middle-class tourists sought amusement and recreation in a packaged form. This group of travelers was used to working and commuting by the clock. Travel became more time-oriented, space-specific, and democratic. The speed of train travel, the increased numbers of guests, and a widening variety of accommodations opened the White Moun- tains to larger groups of people. As the nation turned its collective eyes west or focused on Passing Through: the benefits of industrialization, the White Mountains provided a nearby and increasingly accessible escape from the multiplying pressures The Allure of the White Mountains of modern life, but with urban comforts and amenities. -
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.