The Hudson River School American Art 1820-1870 Donna M. Campbell, Washington State University Note: Unfortunately, this slide show does not function admirably in Firefox. Use Internet Explorer in the event that you need to see every one of the photos and notes.Slide 2
Background: pre-1825 Portraiture European impact American âNaiveâ style Flat outline, extra painting (Ammi Phillips, 1788-1865) Landscapes Often show up as subtle element of picture: property seen through an open window demonstrates riches Washington Allstonâs nonexistent scenesSlide 3
European impact: John Singleton Copley, Paul Revere, 1768Slide 4
Naã¯ve style Ammi Phillips, Portrait of Harriet Campbell, 1815Slide 5
Naã¯ve style Edward Hicks, The Peaceable Kingdom (1834)Slide 6
Formal Principles Not just topographic however interpretive and lovely perspectives of nature Formal arrangement and tender loving care Depictions of concordance in natureSlide 7
Subjects âHome in the Wildernessâ Juncture of development and wild: âWilderness on the doorstepâ Incursions of human advancement and advancementSlide 8
Thomas Cole, The Hunterâs Return (1845)Slide 9
Thomas Cole, Home in the Woods (1847)Slide 10
Thomas Cole, Daniel Boone Sitting at the Door of his Cabin on the Great Osage Lake, Kentucky, 1826Slide 11
Thomas Doughty, Home on the HudsonSlide 12
Style Juxtaposition of components Use of all encompassing perspectives and little human figures to show enormity of nature and inconsequentiality of individuals Distant or hoisted point of view for the viewer Symbolic utilization of light and obscurity Contrast of various components to demonstrate the solidarity of natureSlide 13
Thomas Cole, Scene from Last of the Mohicansâ: Cora Kneeling at the Feet of Tamenund (1827)Slide 14
E. C. Coates, West Point (1855)Slide 15
Thomas Cole, The Clove, Catskills (1827)Slide 16
Sublime, Beautiful, Picturesque Longinus, On the Sublime (AD 50) Resulting from soul - a flash from essayist to peruser - instead of procedure Edmund Burke, Philosophical Inquiry into the Origins of Our Ideas of the Sublime and Beautiful (1757-1759 ) Immanuel Kant, Critique of Judgment (1790) Beauty is limited; the glorious is unboundedSlide 17
The Beautiful Feminine qualities Harmony Sociability Pastels Sensual bendsSlide 18
Burke on the Sublime Painful thought makes an eminent enthusiasm Sublime focuses the psyche on a solitary aspect of experience, delivering a passing suspension of sane movement Harsh, reserved, âmasculineâ representations exist in the domain of lack of clarity and savage powerSlide 19
The Sublime âAgreeable horrorâ results from depictions of debilitating articles Greater stylish worth if the agony creating the impact is fanciful as opposed to genuine Feelings of wonderment at magnificent nature the point of specific sorts of workmanship Influenced Poe , the âGraveyard Schoolâ of verse, and Gothic booksSlide 20
Thomas Moran, The Grand Canyon of the Yellowstone , 1872Slide 21
Albert Bierstadt, A Storm in the Rocky Mountains (1866)Slide 22
Picturesque Intermediate classification between the superb and the excellent Allowed the painter to arrange nature into what Pope called a âwild civilityâ William Gilpin: showed visits in the 1790s set up the traditionsSlide 23
Characteristics of the Picturesque Ruggedness and asymmetry Irregularity of line Contrasts of light and shadow Landscape as an once-over Arcadia Ruined towers, cracked rocks Mossy banks and winding streams Blighted or curved trees Appeal to sentimentality for preindustrial ageSlide 24
Thomas Cole, Roman Campagna (Ruins of Aqueducts in the Campagna di Roma), 1843Slide 25
The Hudson River School Thomas Cole (1801-1848) Asher B. Durand (1796-1886) Thomas Doughty (1793-1856) John William CasilearSlide 26
Thomas Cole (1801-1848) Discovered in 1825 by John Trumbull, William Dunlap Asher B. Durand âThe subject of craftsmanship ought to be immaculate and elevated . . .an ethical, religious, or beautiful impact must be delivered on the mind.âSlide 27
Thomas Cole Lake with Dead Trees ( 1825) The artistic creation that made Cole celebrated.Slide 28
Allegorical and sensible scenes: The Voyage of Life (Childhood) , 1842Slide 29
Thomas Cole, A Mountain\'s View Pass Called the White\'s Notch Mountains (Crawford Notch), 1839Slide 30
Thomas Cole, The Ox-Bow (1836)Slide 31
Asher B. Durand (1796-1886) Began as an etcher; swung to painting âLetters on Landscape Paintingâ (1855) in The Crayon âGo first to nature to figure out how to paint landscape.âSlide 32
Asher B. Durand, Hudson River Scene (1846)Slide 33
Asher B. Durand, Kindred Spirits (1849) Thomas Cole and William Cullen Bryant See Bryantâs âTo Cole, the Painter, Departing for Europe.âSlide 34
John William Casilear, View on Lake George , 1857Slide 35
Panoramists and Luminists Second Generation of Hudson River school Style of Hudson River painters connected to different districts: Rocky Mountains South AmericaSlide 36
Practitioners Jasper Cropsey (1823-1900) Frederic E. Church (1826-1900) John Frederick Kensett (1816-1873) George Inness (1825-1894) Albert Bierstadt (1830-1902)Slide 37
Jasper Cropsey (1823-1900) Imitator of Coleâs metaphorical works Panorama of Pilgrimâs Progress : Sixty extensive scenes unrolled to music and addresses. Scene was eight feet high by 850â long. Whole presentation took around two hours.Slide 38
Jasper Cropsey, Palisades at Sunset (Spyten Duyvil)Slide 39
Jasper Cropsey, Gates of the HudsonSlide 40
Jasper Cropsey, Autumn on the Hudson (1860)Slide 41
Frederick Edwin Church Thomas Coleâs significant student Full-length âshowpieceâ scenes Falls of Niagara (1857) Heart of the Andes (1859) Landscape as image of perfect American landmass as new Eden Painted from nature, not notes and representationsSlide 42
Frederick Edwin Church, Falls of Niagara (1857) Compare this canvas with a photo taken close to the same spot in 2000.Slide 43
The Heart of the Andes (1859)Slide 44
Frederic Edwin Church, Twilight in the Wilderness (1860)Slide 45
George Inness (1825-1894) The Lackawanna Valley (1855) Landscape reflection on connection of man and nature Harmonious combination of manâs advance and scene Unlike Cole: âA show-stopper does not speak to the ethical sense. Its point is not to train and illuminate, but rather to stir an emotion.âSlide 46
George Inness, The Lackawanna Valley , 1855Slide 47
W. L. Sonntag, Afternoon on the Hudson (1855)Slide 48
Albert Bierstadt (1830-1902) One of first real craftsmen to investigate the West The Rocky Mountains, Landerâs Peak ( 1863) A Storm in the Rocky Mountains (1866) Yosemite Valley ( 1875)Slide 49
Albert Bierstadt, The Rocky Mountains, Lander\'s Peak , 1863Slide 50
Albert Bierstadt, A Storm in the Rocky Mountains (1866)Slide 51
Albert Bierstadt, Yosemite Valley (1875)Slide 52
John Quidor (1801-1881) Not of the Hudson River school Created dreamlike, whimsical elucidations of artistic scenes Artisan-painter: utilizes splendid, decorative huesSlide 53
The Return of Rip Van Winkle (c.1849)Slide 54
Illustration from The PioneersSlide 55
Note on Sources Among the sources utilized: E. P. Richardson, Painting in America Ellwood C. Repel, Art of Thomas Cole John K. Howatt, The Hudson River and Its Painters General information about Hudson River school Burke, Kant, Longinus Pictures are for the most part from Sandra Hildrethâs website (utilized with consent)Slide 56
Web destinations on the Hudson River School The Metropolitan Museum of Art. Brief talk of the school from âI hear America Singingâ at pbs.org Index of Hudson River works of art (numerous pictures) The Artfact site has a brief portrayal of the school and connections to a hefty portion of the lesser-known painters. More depictions and connections from artlex.com The Albany Institute has pictures of works of art by Cole, Durand, and others. Hudson River School passage from Wikipedia. A venture by Kathleen Hogan (American Studies) at the University of Virginia examines Alexis de Tocqueville and the Hudson River School. The New-York Historical Society site includes an exposition on the school and a portrayal of
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