Romantic Landscapes

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Romantic Landscape Painting in England, Germany and the U.S. J. M. W. Turner: The Burning of the Houses of Lords and Commons, October 16, 1834 (1835), oil on canvas, 36 x 50" Turner: Slave Ship (Slavers Throwing Overboard the Dead and Dying, Typhoon Coming), 1840, o/c, 35 3/4 x 48 1/4 in. John Constable: Cornfield, 1826 (one of the "six-footers" - 56" x 48") Constable: Haywain, 1821, oil on canvas, 4'3 x 6'2 Thomas Cole: The Oxbow (Connecticut River near Northampton), 1836, oil on canvas, 76 x 51-1/2" Cole: Destruction (4th painting in The Course of the Empire, 1833-6, a set of 5 paintings) Frederick Church: Heart of the Andes, 1859, Oil on canvas, 66 x 119" Church: Twilight in the Wilderness, 1860, oil on canvas, 3'4 x 5'4 Albert Bierstadt: Sierra Nevada in California, 1868, oil on canvas, 6' x 10' (luminism) Casper David Friedrich: Abbey in an Oak Grove, 1809-1810, oil/canvas, 3'7 x 5'7 Friedrich: Sea of Ice (Arctic Shipwreck), 1823 - 1824, oil on canvas, 38 x 50" What is Romanticism? • a cult of the personal • a cult of the expressive • a preference for emotion and spirituality over reason and intellect • a cult of suffering as a means to transcendence • a international movement which affects all the arts: painting, music, and literature 14. ROMANTICISM AND THE L ANDSCAPE Creator Joseph Mallord William Turner British, 1775-1851, European; British Title Slave Ship (Slavers Throwing Overboard the Dead and Dying, Typhoon Coming Date 1840 Creator Constable, John Title Haywain Date 1821 Creator Cole, Thomas, 1801-1848 Title Oxbow Connecticut River near Northampton Date 1836 Creator Cole, Thomas, 1801-1848. Title Course of empire: destruction Date 1836. Creator Frederic Edwin Church, 1826-1900 Title Heart of the Andes Date 1859 Creator Frederic Edwin Church, North American; American, 1826 - 1900, (artist) Title Twilight in the Wilderness Date 1860 Creator Albert Bierstadt, North American; American, 1830 Germany-1902 USA, (Artist) Title Among the Sierra Nevada, California Date 1868 Creator Friedrich, Caspar David, German Title Abbey in an Oak Grove Date 1809-1810 .

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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.
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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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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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Early Paintings by Frederic Edwin Church
Bibliography for The American Landscape's "Quieter Spirit": Early Paintings by Frederic Edwin Church Books and a bibliography of additional sources are available in the Reading Room of the Dorothy Stimson Bullitt Library (SAM, Downtown). Avery, Kevin J. and Kelly, Franklin. Hudson River School visions: the landscapes of Sanford R. Gifford (New York: Metropolitan Museum of Art; New Haven: Yale University Press, 2003). Carr, Gerald L. and Harvey, Eleanor Jones. The voyage of the icebergs: Frederic Church's arctic masterpiece (Dallas: Dallas Museum of Art; New Haven: Yale University Press, 2002). _____. Frederic Edwin Church: the icebergs (Dallas: Dallas Museum of Fine Arts, 1980). _____. In search of the promised land: paintings by Frederic Edwin Church (New York: Berry-Hill Galleries, Inc., 2000). Cock, Elizabeth. The influence of photography on American landscape painting 1839- 1880 (Ann Arbor: UMI Dissertation Services [dissertation], 1967). Driscoll, John Paul et al. John Frederick Kensett: an American master (New York: Worcester Art Museum, 1985). Fels, Thomas Weston. Fire & ice : treasures from the photographic collection of Frederic Church at Olana (New York: Dahesh Museum of Art; Ithaca: Cornell University Press, 2002). Glauber, Carole. Witch of Kodakery: the photography of Myra Albert Wiggins, 1869- 1956 (Pullman: Washington State University Press, 1997). Harmon, Kitty. The Pacific Northwest landscape: a painted history (Seattle: Sasquatch Books, 2001). Hendricks, Gordon. Albert Bierstadt: painter of the American West (New York: H. N. Abrams, 1974). Howat, John K. The Hudson River and its painters (New York: Viking Press, 1972). Huntington, David C. The landscapes of Frederic Edwin Church: vision of an American era (New York: G.
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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.
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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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Winter 2008 Newsletter UW GERMANICS
Winter 2008 Newsletter UW GERMANICS LETTER FROM THE CHAIR teaching this year and with the university there, a you will be able to read program that brought us INSIDE THIS ISSUE: about their research up- Detlef Kremer for part of fall dates in this newsletter. quarter (please see the in- 2-3 Faculty Updates Manfred Bansleben re- terview with him in this tired before the summer. newsletter). Several books New Publication 4 But if you think that that penned by our faculty have means that he is now come out recently or are in Honors and Graduates 4 staying home attending to the making and we are start- Dear friends and colleagues: his house and garden you ing a series that will feature Detlef Kremer 5 are mistaken! He is back one recent publication per teaching part-time and, with newsletter in depth. This fall Those of you who receive 5 some help from students we are starting with Jane Donors monthly updates via our and colleagues, continues in Brown’s career book “The electronic newsletter know his role as language coordi- Persistence of Allegory.” Upcoming Events 6 that I have returned to the nator. Hellmut Ammerlahn Applications for our popular chairship from a year-long will retire next spring and “Spring in Vienna” program sabbatical. I had a wonder- also plans to return for part- are out. This year we are ful time staying home, read- time teaching. We are just opening the program to all ing books on environmental having too much fun doing students who wish to learn criticism (more about that in German regardless of prior my faculty blurb) and doing what we love to do.
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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.
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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.
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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.
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View Exhibition Brochure
1 Renée Cox (Jamaica, 1960; lives & works in New York) “Redcoat,” from Queen Nanny of the Maroons series, 2004 Color digital inket print on watercolor paper, AP 1, 76 x 44 in. (193 x 111.8 cm) Courtesy of the artist Caribbean: Crossroads of the World, organized This exhibition is organized into six themes by El Museo del Barrio in collaboration with the that consider the objects from various cultural, Queens Museum of Art and The Studio Museum in geographic, historical and visual standpoints: Harlem, explores the complexity of the Caribbean Shades of History, Land of the Outlaw, Patriot region, from the Haitian Revolution (1791–1804) to Acts, Counterpoints, Kingdoms of this World and the present. The culmination of nearly a decade Fluid Motions. of collaborative research and scholarship, this exhibition gathers objects that highlight more than At The Studio Museum in Harlem, Shades of two hundred years of history, art and visual culture History explores how artists have perceived from the Caribbean basin and its diaspora. the significance of race and its relevance to the social development, history and culture of the Caribbean: Crossroads engages the rich history of Caribbean, beginning with the pivotal Haitian the Caribbean and its transatlantic cultures. The Revolution. Land of the Outlaw features works broad range of themes examined in this multi- of art that examine dual perceptions of the venue project draws attention to diverse views Caribbean—as both a utopic place of pleasure and of the contemporary Caribbean, and sheds new a land of lawlessness—and investigate historical light on the encounters and exchanges among and contemporary interpretations of the “outlaw.” the countries and territories comprising the New World.
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A Catalogue of the Collection of American Paintings in the Corcoran Gallery of Art
A Catalogue of the Collection of American Paintings in The Corcoran Gallery of Art VOLUME I THE CORCORAN GALLERY OF ART WASHINGTON, D.C. A Catalogue of the Collection of American Paintings in The Corcoran Gallery of Art Volume 1 PAINTERS BORN BEFORE 1850 THE CORCORAN GALLERY OF ART WASHINGTON, D.C Copyright © 1966 By The Corcoran Gallery of Art, Washington, D.C. 20006 The Board of Trustees of The Corcoran Gallery of Art George E. Hamilton, Jr., President Robert V. Fleming Charles C. Glover, Jr. Corcoran Thorn, Jr. Katherine Morris Hall Frederick M. Bradley David E. Finley Gordon Gray David Lloyd Kreeger William Wilson Corcoran 69.1 A cknowledgments While the need for a catalogue of the collection has been apparent for some time, the preparation of this publication did not actually begin until June, 1965. Since that time a great many individuals and institutions have assisted in com- pleting the information contained herein. It is impossible to mention each indi- vidual and institution who has contributed to this project. But we take particular pleasure in recording our indebtedness to the staffs of the following institutions for their invaluable assistance: The Frick Art Reference Library, The District of Columbia Public Library, The Library of the National Gallery of Art, The Prints and Photographs Division, The Library of Congress. For assistance with particular research problems, and in compiling biographi- cal information on many of the artists included in this volume, special thanks are due to Mrs. Philip W. Amram, Miss Nancy Berman, Mrs. Christopher Bever, Mrs. Carter Burns, Professor Francis W.
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