The Hudson Waterway School.


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The Hudson Waterway School American Workmanship 1820-1870 Donna M. Campbell, Washington State College Note: Lamentably, this slide show does not function admirably in Firefox. Use Web Pioneer on the off chance that you need to see every one of the photos and notes. Foundation: pre-1825 Picture European impact
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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.

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Background: pre-1825 Portraiture European impact American “Naive” 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 Allston’s nonexistent scenes

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European impact: John Singleton Copley, Paul Revere, 1768

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Naã¯ve style Ammi Phillips, Portrait of Harriet Campbell, 1815

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Naã¯ve style Edward Hicks, The Peaceable Kingdom (1834)

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Formal Principles Not just topographic however interpretive and lovely perspectives of nature Formal arrangement and tender loving care Depictions of concordance in nature

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Subjects “Home in the Wilderness” Juncture of development and wild: “Wilderness on the doorstep” Incursions of human advancement and advancement

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Thomas Cole, The Hunter’s Return (1845)

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Thomas Cole, Home in the Woods (1847)

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Thomas Cole, Daniel Boone Sitting at the Door of his Cabin on the Great Osage Lake, Kentucky, 1826

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Thomas Doughty, Home on the Hudson

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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 nature

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Thomas Cole, Scene from Last of the Mohicans”: Cora Kneeling at the Feet of Tamenund (1827)

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E. C. Coates, West Point (1855)

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Thomas Cole, The Clove, Catskills (1827)

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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 unbounded

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The Beautiful Feminine qualities Harmony Sociability Pastels Sensual bends

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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, “masculine” representations exist in the domain of lack of clarity and savage power

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The Sublime “Agreeable horror” 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 “Graveyard School” of verse, and Gothic books

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Thomas Moran, The Grand Canyon of the Yellowstone , 1872

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Albert Bierstadt, A Storm in the Rocky Mountains (1866)

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Picturesque Intermediate classification between the superb and the excellent Allowed the painter to arrange nature into what Pope called a “wild civility” William Gilpin: showed visits in the 1790s set up the traditions

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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 age

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Thomas Cole, Roman Campagna (Ruins of Aqueducts in the Campagna di Roma), 1843

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The Hudson River School Thomas Cole (1801-1848) Asher B. Durand (1796-1886) Thomas Doughty (1793-1856) John William Casilear

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Thomas Cole (1801-1848) Discovered in 1825 by John Trumbull, William Dunlap Asher B. Durand “The subject of craftsmanship ought to be immaculate and elevated . . .an ethical, religious, or beautiful impact must be delivered on the mind.”

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Thomas Cole Lake with Dead Trees ( 1825) The artistic creation that made Cole celebrated.

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Allegorical and sensible scenes: The Voyage of Life (Childhood) , 1842

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Thomas Cole, A Mountain\'s View Pass Called the White\'s Notch Mountains (Crawford Notch), 1839

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Thomas Cole, The Ox-Bow (1836)

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Asher B. Durand (1796-1886) Began as an etcher; swung to painting “Letters on Landscape Painting” (1855) in The Crayon “Go first to nature to figure out how to paint landscape.”

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Asher B. Durand, Hudson River Scene (1846)

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Asher B. Durand, Kindred Spirits (1849) Thomas Cole and William Cullen Bryant See Bryant’s “To Cole, the Painter, Departing for Europe.”

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John William Casilear, View on Lake George , 1857

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Panoramists and Luminists Second Generation of Hudson River school Style of Hudson River painters connected to different districts: Rocky Mountains South America

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Practitioners Jasper Cropsey (1823-1900) Frederic E. Church (1826-1900) John Frederick Kensett (1816-1873) George Inness (1825-1894) Albert Bierstadt (1830-1902)

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Jasper Cropsey (1823-1900) Imitator of Cole’s metaphorical works Panorama of Pilgrim’s Progress : Sixty extensive scenes unrolled to music and addresses. Scene was eight feet high by 850’ long. Whole presentation took around two hours.

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Jasper Cropsey, Palisades at Sunset (Spyten Duyvil)

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Jasper Cropsey, Gates of the Hudson

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Jasper Cropsey, Autumn on the Hudson (1860)

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Frederick Edwin Church Thomas Cole’s significant student Full-length “showpiece” 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 representations

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Frederick Edwin Church, Falls of Niagara (1857) Compare this canvas with a photo taken close to the same spot in 2000.

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The Heart of the Andes (1859)

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Frederic Edwin Church, Twilight in the Wilderness (1860)

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George Inness (1825-1894) The Lackawanna Valley (1855) Landscape reflection on connection of man and nature Harmonious combination of man’s advance and scene Unlike Cole: “A show-stopper does not speak to the ethical sense. Its point is not to train and illuminate, but rather to stir an emotion.”

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George Inness, The Lackawanna Valley , 1855

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W. L. Sonntag, Afternoon on the Hudson (1855)

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Albert Bierstadt (1830-1902) One of first real craftsmen to investigate the West The Rocky Mountains, Lander’s Peak ( 1863) A Storm in the Rocky Mountains (1866) Yosemite Valley ( 1875)

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Albert Bierstadt, The Rocky Mountains, Lander\'s Peak , 1863

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Albert Bierstadt, A Storm in the Rocky Mountains (1866)

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Albert Bierstadt, Yosemite Valley (1875)

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John Quidor (1801-1881) Not of the Hudson River school Created dreamlike, whimsical elucidations of artistic scenes Artisan-painter: utilizes splendid, decorative hues

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The Return of Rip Van Winkle (c.1849)

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Illustration from The Pioneers

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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 Hildreth’s website (utilized with consent)

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Web destinations on the Hudson River School The Metropolitan Museum of Art. Brief talk of the school from “I hear America Singing” 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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