Hudson River School

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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. Annes, East Canada (1845) Smithsonian American Art Museum Frederic Edwin Church (1826-1900) Cotopaxi (1862) Detroit Institute of Arts New England Scenery (1851) Museum of Fine Arts, Springfield, Massachusetts Niagara (1857) National Gallery of Art The Parthenon (1871) Metropolitan Museum of Art Albert Bierstadt (1830-1902) Thomas Moran (1827-1908) The Grand Canyon of the Yellowstone (1893-1901) Smithsonian American Art Museum Among the Sierra Nevada, California (1868) Smithsonian American Art Museum Thomas Hill (1827-1908) The Rocky Mountains, Lander’s Peak (1845) Metropolitan Museum of Art Indians of the Northwest (1829-1908) Blanton Museum of Art Very grateful acknowledgement is made to Wikipedia and Wikipedia Commons and all institutions and private individuals providing high quality access to copies of paintings in the public domain in countries where the copyright term is the author’s life plus 70 years or fewer. American Paradise : the World of the Hudson River School (1987) Metropolitan Museum of Art [email protected] www.apepress-im.com IM IM EurAsian Education (Intermal).

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Contact: Associate Director, Jennifer Greim, [email protected] the Thomas Cole National Historic Site Announces the Gift Of
Contact: Associate Director, Jennifer Greim, [email protected] The Thomas Cole National Historic Site Announces the Gift of a Thomas Cole Masterpiece from Susan Warner, Chairman of the Board of the Warner Foundation The Painting – One of Thomas Cole’s Earliest – Will be the Focus of an October 20 Virtual Lecture by the Director of the Birmingham Museum of Art Catskill, NY – October 8, 2020 – The Thomas Cole National Historic Site announced today the gift of a Thomas Cole masterpiece from Susan Warner, Chairman of the Board of the Warner Foundation, founded by the late, legendary art collector Jack Warner. The painting, Hunters in a Landscape, 1824-25, is a gift from her personal collection and is one of Thomas Cole’s earliest works. The painting dates from the period of time when his paintings were first displayed on Lower Broadway in Manhattan, launching his career and the style of painting now known as the Hudson River School, which became the nation’s first major Thomas Cole, Hunters in a Landscape, 1824-25, 28 1/4” x 35 art movement. 1/2”, Oil on canvas, Thomas Cole National Historic Site, Gift of Dr. Susan Gates Austin Warner The Warner Foundation and Susan Warner have loaned two additional Thomas Cole paintings to the historic site: Autumn Landscape (View of Chocorua Peak), 1827-28, and Catskill Mountain House, 1845-48. Dr. Warner joined the Board of Directors of the Thomas Cole National Historic Site in July 2020. Hunters in a Landscape will be the focus of a virtual lecture on Tuesday, October 20, by Dr.
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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.
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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.
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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
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The Artist and the American Land
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Sheldon Museum of Art Catalogues and Publications Sheldon Museum of Art 1975 A Sense of Place: The Artist and the American Land Norman A. Geske Director at Sheldon Memorial Art Gallery, University of Nebraska- Lincoln Follow this and additional works at: https://digitalcommons.unl.edu/sheldonpubs Geske, Norman A., "A Sense of Place: The Artist and the American Land" (1975). Sheldon Museum of Art Catalogues and Publications. 112. https://digitalcommons.unl.edu/sheldonpubs/112 This Article is brought to you for free and open access by the Sheldon Museum of Art at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Sheldon Museum of Art Catalogues and Publications by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. VOLUME I is the book on which this exhibition is based: A Sense at Place The Artist and The American Land By Alan Gussow Library of Congress Catalog Card Number 79-154250 COVER: GUSSOW (DETAIL) "LOOSESTRIFE AND WINEBERRIES", 1965 Courtesy Washburn Galleries, Inc. New York a s~ns~ 0 ac~ THE ARTIST AND THE AMERICAN LAND VOLUME II [1 Lenders - Joslyn Art Museum ALLEN MEMORIAL ART MUSEUM, OBERLIN COLLEGE, Oberlin, Ohio MUNSON-WILLIAMS-PROCTOR INSTITUTE, Utica, New York AMERICAN REPUBLIC INSURANCE COMPANY, Des Moines, Iowa MUSEUM OF ART, THE PENNSYLVANIA STATE UNIVERSITY, University Park AMON CARTER MUSEUM, Fort Worth MUSEUM OF FINE ARTS, BOSTON MR. TOM BARTEK, Omaha NATIONAL GALLERY OF ART, Washington, D.C. MR. THOMAS HART BENTON, Kansas City, Missouri NEBRASKA ART ASSOCIATION, Lincoln MR. AND MRS. EDMUND c.
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Picturing America at the KIA………………………………………………………………………………………3
at the Kalamazoo Institute of Arts 314 S. Park Street Kalamazoo, MI 49007 269/349-7775, www.kiarts.org 2 Table of Contents Information about Picturing America at the KIA………………………………………………………………………………………3 The Art John Singleton Copley, Mars, Venus and Vulcan: The Forge of Vulcan , 1754……………………….…………..………………4 Charles Willson Peale, The Reverend Joseph Pilmore , 1787……………………………………………………………………...5 John James Audubon, White Headed Eagle , 1828………………………………………………………………………..………...6 Hiram Powers, George Washington , 1838-1844……………………………………………………………………………………..7 Severin Roesen, Still Life with Fruit and Bird’s Nest , n.d………………………………………..…………………………………..8 Johann Mongels Culverhouse, Union Army Encampment , 1860…………………………………………………………………..9 William Gay Yorke, The Great Republic , 1861…………………………………………………………………..………………….10 Eastman Johnson, The Boy Lincoln , 1867………………………………………………………………………………….……….11 Robert Scott Duncanson, Heart of the Andes , 1871……………………………………………………………..………………...12 Albert Bierstadt, Mount Brewer from Kings River Canyon , 1872……………………………………………………..……..........13 Edmonia Lewis, Marriage of Hiawatha , 1872………………………………………………………………………….…………….14 Jasper Francis Cropsey, Autumn Sunset at Greenwood Lake, NY , 1876…………………………………………….…………15 Henry Ossawa Tanner, The Visitation , 1890-1900……………………………………………………..…………………………..16 Frederick William MacMonnies, Nathan Hale , 1890………………………………………………………………………………..17 William Merritt Chase, A Study in Pink (Mrs. Robert MacDougal), 1895………………………………………………..……….18 Alfred Stieglitz, The Steerage , 1907…………………………………………………………………………………………...........19
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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.
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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).
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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.
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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.
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The Visual Creation of the State Apparatus, Nineteenth Century American Landscape Paintings
The Visual Creation of the State Apparatus, Nineteenth Century American Landscape Paintings A thesis submitted to the College of Arts of Kent State University in partial fulfillment of the requirement for the degree of Master of Arts by Jonathan J. Hacker May, 2019 Thesis written by Jonathan J. Hacker B.A., Kent State University, 2015 M.A. Kent State University, 2019 Approved by _______________________________________ John-Michael H. Warner, Ph.D. Advisor _______________________________________ Marie Bukowski, M.F.A. Director, School of Art _______________________________________ John R. Crawford-Spinelli, Ed.D., Dean, College of the Art TABLE OF CONTENTS TABLE OF CONTENTS………………………………………………………………………………………………………………..iii LIST OF FIGURES……………………………………………………………………………………….…………………….………..iv ACKNOWLEDGMENTS………………………………………………………………………………..……………………………..v CHAPTER I. Ideology and Rhetoric in Nineteenth Century American Landscapes……………………………..1 II. The Visual Creation of the State Apparatus Through Experiential Ideologies….…………..…8 III. Conclusion…………………………..……………………….…..………………………………………………….....….31 IV. FIGURES………………………………………………………………………………………………..………………..……34 V. BIBLIOGRAPHY……………………………………………………………………………………………………………..37 iii LIST OF FIGURES Figure Page 1. View from Mount Holyoke, Northampton, Massachusetts, After a Thunderstorm—The Oxbow, 1835-36……………………………………………………………………………………………………………34 2. Twilight in the Wilderness, 1860…………………………………………………………………………….…….35 3. Rocky Mountains, Lander’s Peak, 1863.……………………………………………………….……..….……36 iv ACKNOWLEDGEMENTS To those who instill the love of learning, and lovingly guide us in the direction we must go. I am yours. Thank you to my parents for my love of nature, art, and education, and for encouraging me in my pursuit of all three. To Dr. Carol Salus and Dr. Diane Scillia, for helping me find, explore, and develop my topic, may you both enjoy your retirement! To Dr. John-Michael Warner who redirected my research, teaching me to embrace theory which, under his guidance, then became a driving force in my thesis.
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