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Proquest Dissertations Tracing the Romantic impulse in 19th-century landscape painting in the United States, Australia, and Canada Item Type text; Thesis-Reproduction (electronic) Authors Hoene, Katherine Anne Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 06/10/2021 14:07:49 Link to Item http://hdl.handle.net/10150/278748 INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. 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ProQuest Infonmation and Learning 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA 800-521-0600 TRACING THE ROMANTIC IMPULSE IN 19TH-CENTURY LANDSCAPE PAINTING IN THE UNITED STATES, AUSTRALIA, AND CANADA by BCatherine Anne Hoene Copyright ® BCatherine Anne Hoene 2000 A Thesis Submitted to the Faculty of the DEPARTMENT OF ART HISTORY In Partial Fulfillment of the Requirements For the Degree of MASTER OF ARTS WITH A MAJOR IN ART HISTORY In the Graduate College THE UNIVERSITY OF ARIZONA UMI Number: 1403174 Copyright 2000 by Hoene, Katherine Anne All rights reserved- UMI ® UMI Microform 1403174 Copyright 2001 by Bell & Howell Information and Learning Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. Bell & Howell Information and Learning Company 300 North Zeeb Road P.O. Box 1346 Ann Arbor, Ml 48106-1346 2 STATEMENT BY AUTHOR This thesis has been subonitted in partial fulfillment of requirements for an advanced degree at the University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Liteuy. Brief quotations from this thesis are allowable without special permission, provided that accurate acknowledgment of source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted fay the head of the major department or the Dean of the Graduate College when in his or her judgment the proposed use of the material is in the interests of scholarship. In all other instances, however, permission must be obtained from the author. SIGNED: ^ APPROVAL BY THESIS DIRECTOR This thesis has been approved on the date shown below: EUwood C. Parry m ( j Date Professor of Art History 3 Acknowledgments I wish to express my gratitude to the Department of Art History Faculty at the University of Arizona for their generous support and instruction during my studies. Particularly, I wish to thank Professor Pia F. Cuneo, Professor Julie-Anne Plax, Professor Sarah J. Moore, and above all Professor EUwood C. Parry m, the Grand Master and Foremost Expert on Thomas Cole and 19th-century romantic landscape painting. Professor Parry's challengiog mentorship was an inspiration and guide in this thesis writing. I would also like to laud Dr. Elizabeth Mankin Komhauser, Chief Curator, Wadsworth Atheneum, Hartford, Connecticut, and Dr. Anna Hudson, Assistant Curator, Canadian Art, at the Art Gallery of Ontario, Toronto, Canada, for their kind and generous assistance. Dedication For my wonderful mother Anne Katherine Hoene Table of Contents List of Illustrations Abstract Preface Introduction Chapter 1. United States: Thomas Cole (1801-1848), Arch-Romantic Landscape Painting, 1820 to 1850. Frederic Church (1826-1900) Albert Bierstadt (1830-1902) Romantic-Realists, 1840s to 1870s. Chapter 2. Australia: Conrad Martens (1801-1878), Romantic Landscape Painting, 1830s to 1875. W.C. Piguenit (1836-1914), Romantic-Realist, 1860s to 1903. Chapter 3. Canada: Lucius R. O'Brien (1832-1899), Romantic-Realist, 1870s to 1890s. Conclusion Endnotes Bibliography 6i List of Illustrations 1. William Armstrong. Arrival of the Prince of Wales at Toronto, 1860, w.c. National Gallery of Canada. 2. Frederic Marlett BeU-Smith. Mists and Glaciers of the Selkirks, 1911, Oil on canvas. The National Gallery of Canada, Ottawa. 3. Albert Bierstadt. Valley of the Yosemite, 1864, Oil on prepared millboard. Museum of Fine Arts, Boston. M. and M. Karolik Collection. 4. Albert Bierstadt. The Yosemite Valley, 1867, Oil on canvas. Wadsworth Atheneum, Hartford. 5. Albert Bierstadt. Mount Corcoran, c. 1875-77, Oil on canvas. The Corcoran Gallery of Art, Washington, D.C. 6. Albert Bierstadt, The Citadel, Quebec, from the St. Lawrence, c. 1880, Oil onboard. National Gallery of Canada, Ottawa; purchased 1973. 7. Albert Bierstadt. The Saint Lawrence River from the Citadel, Quebec, c. 1881, Oil on paper mounted on canvas. Museum of Fine Arts, Boston. M. and M Karolik Collection. 8. Albert Bierstadt. Princess Louisa Inlet, British Columbia [correct title?], 1889?. Oil on canvas. Charles H. and Mary F.S. Worcester Collection. 9. Frederic Church. New England Scenery, 1851. Oil on canvas. George Walter Vincent Smith Art Museum, Springfield, Massachusetts. 10. Frederic Church. Niagara Falls, 1857, Oil on canvas. The Corcoran Gallery of Art, Washington, D.C. 11. Frederic Church. The Heart of the Andes, 1859. Oil on canvas. Metropolitan Museum of Art, bequest of Mrs. David Dows, 1909. 12. Frederic Church. TMfilight in the Wilderness, 1860. Oil on canvas. The Cleveland Museum of Art, purchase, Mr. and Mrs. William H. Marlatt Fimd. 13. Thomas Cole, Mountain Sunrise, 1826. Oil on wood. Alexander Gallery, New York City. 7 14. Thomas Cole, Landscape, the Seat of Mr. Featherstonhaugh in the Distance, 1826. Oil on canvas. Private collection. 15. Thomas Cole, Sunny Morning on the Hudson River, 1827. Oil on panel. Museum of Fine Arts, Boston; gift of Mrs. Maxim Karolik for the Karolik Collection of American Paintings, 1815-65. 16. Thomas Cole. View of Monte Video, the Seat of Daniel Wadsworth, Esq., 1828. Oil on panel. Wadsworth Atheneum, Hartford, Connecticut; bequest of Daniel Wadsworth, 1848, 17. Thomas Cole, View from Mount Holyoke, Northampton, Massachusetts, after a Thunderstorm (The Oxbow), 1836. Oil on canvas. Metropolitan Museum of Art; gift of Mrs. RusseE Sage, 1908. 18. Thomas Cole. The Departure, 1837, Oil on canvas. In the collection of The Corcoran Gallery of Art, Washington, D.C.; gift of William Wilson Corcoran, 1869. 19. Thomas Cole. The Return, 1837, Oil on canvas. In the collection of The Corcoran GaUery of Art, Washington, D.C.; gift of William Wilson Corcoran, 1869. 20. Thomas Cole, View of Schroon Mountain, Essex Co., New York, After a Storm, 1838. Oil on canvas. Cleveland Museirai of Art; the Hinman B. Hurlbut Collection. 21. Thomas Cole. Dream of Arcadia, 1838. Denver Art Museum; gift of Katharine H. Gentry, 1954. 22. William G.R, Hind. Foot of Rocky Mountains, 1862, w.c. McCord Museum, McGiU University. 23. Conrad Martens. Self-portrait on board H.M.S. Beagle June 1834. pencil. Mitchell and Dixson collections. State Library of New South Wales, Sydney, NSW, Australia. 24. Conrad Martens. Condors Preying on a Dead Guanaco, Santa Cruz River {Voyage of H.M.S. Beagle, South America) 1834. Mitchell and Dixson collections, State Library of New South Wales, Sydney, NSW, Australia. 25. Engraving by T. Landseer after a drawing by Conrad Martens (now lost). The Beagle laid ashore at the Santa Cruz River, April, 1834. R. FitzRoy. Narrative, Vol. 2, p. 336. 26. Map of Martetis's Voyage to Australia 1833-1835. Private collection. 8 27. Conrad Martens. Beagle off Mount Sarmiento, c. 1838. H.W.B. Chester Memorial Collection. 28. Conrad Martens. Port of Sydney from the Colonnade, Bridge Street, 1839. Mitchell and Dixson collections. State Library of New South Wales, Sydney, NSW, Australia. 29. Conrad Martens. The 'grand amphitheatre' that encloses the Jamison Valley. MitcheE and Dixson collections, State Library of New South Wales, Sydney, NSW, Australia. 30. Conrad Martens. In the valley of the Gro^e.-.H.W.B. Chester Memorial Collection. 31. Conrad Martens. FitzRoy Falls, 1836. H.W.B. Chester Memorial Collection. 32. Conrad Martens. Tempe Seat of A.B. Spark Esq., 1838. H.W.B. Chester Memorial Collection. 33. Conrad Martens. Elizabeth Bay House, 1839. National Gallery of Victoria, Melbourne, Australia; Felton bequest 1950. 34. Conrad Martens. Vineyard, Parramatta, 1840. Mitchell and Dixson collections. State Library of New South Wales, Sydney, NSW, Australia; presented by E.H. Macarthur, Brisbane, 15 Aug. 1945. 35. Conrad Martens. Government Stables, 1842. Mitchell and Dbcson collections. State Library of New South Wales, Sydney, NSW, Australia; presented by Sir William Dixson, 21 Oct. 1929. 36. Conxzd'Maxx.Qm. Camden Park House, 1843. Mitchell and Dixson collections, State Library of New South Wales, Sydney, NSW, Australia. 37. Conrad Martens. Five Islands, South Coast, New South Wales, w.c. Mount Gilead, N.S.W. 38. Conrad Martens. Interior of the Bwrangalong Cavern, c. 1843-1849, Oil. Mitchell and Dixson collections.
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