Hudson River School

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Thomas Cole (1801-1848), The Oxbow, View from Mount Holyoke, Northampton, Massachusetts, after a Thunderstorm (1836), Metropolitan Museum of Art Cole Thomas The Oxbow (The Connecticut River near Northampton 1836).jpg
Thomas Cole (1801–1848), The Oxbow, View from Mount Holyoke, Northampton, Massachusetts, after a Thunderstorm (1836), Metropolitan Museum of Art

The Hudson River School was a mid-19th-century American art movement embodied by a group of landscape painters whose aesthetic vision was influenced by Romanticism. Early on, the paintings typically depicted the Hudson River Valley and the surrounding area, including the Catskill, Adirondack, and White Mountains.

Contents

Works by second-generation artists expanded to include other locales in New England, the Maritimes, the American West, and South America.

Overview

The school of landscape painters flourished between 1825 and 1870, which was often called the "native," "American," or "New York" school. New York City was the center of it, many members had studios in the Tenth Street Studio Building in Greenwich Village. [1] The term Hudson River School is thought to have been coined by the New York Tribune art critic Clarence Cook or by landscape painter Homer Dodge Martin. [2] The name appeared in print in 1879, it was initially used during the 1870s disparagingly, as the style had gone out of favor after the plein-air Barbizon School had come into vogue among American patrons and collectors. [1]

Hudson River School paintings reflect three themes of America in the 19th century: discovery, exploration, and settlement. [3] They also depict the American landscape as a pastoral setting, where human beings and nature coexist peacefully. Hudson River School landscapes are characterized by their realistic, detailed, and sometimes idealized portrayal of nature, often juxtaposing peaceful agriculture and the remaining wilderness which was fast disappearing from the Hudson Valley just as it was coming to be appreciated for its qualities of ruggedness and sublimity. [4] In general, Hudson River School artists believed that nature in the form of the American landscape was a reflection of God, [5] though they varied in the depth of their religious conviction. They were inspired by European masters such as Claude Lorrain, John Constable, and J. M. W. Turner. Several painters were members of the Düsseldorf School of Painting, and they were educated by German Paul Weber. [6]

Founder

Thomas Cole, A View of the Two Lakes and Mountain House, Catskill Mountains, Morning, 1844, Brooklyn Museum of Art Thomas Cole - A View of the Two Lakes and Mountain House, Catskill Mountains, Morning (1844) - Google Art Project.jpg
Thomas Cole, A View of the Two Lakes and Mountain House, Catskill Mountains, Morning, 1844, Brooklyn Museum of Art

Thomas Cole is generally acknowledged as the founder of the School. [7] He took a steamship up the Hudson in the autumn of 1825, stopping first at West Point then at Catskill landing. He hiked west high into the eastern Catskill Mountains of New York to paint the first landscapes of the area. The first review of his work appeared in the New York Evening Post on November 22, 1825. [8] Cole was from England and the brilliant autumn colours in the American landscape inspired him. [7] His close friend Asher Brown Durand became a prominent figure in the school. [9] A prominent element of the Hudson River School was its themes of nationalism, nature, and property. Adherents of the movement also tended to be suspicious of the economic and technological development of the age. [10]

Second generation

Frederic Edwin Church, Niagara Falls, 1857, Corcoran Gallery of Art, Washington, D.C. Frederic Edwin Church - Niagara Falls - WGA04867.jpg
Frederic Edwin Church, Niagara Falls, 1857, Corcoran Gallery of Art, Washington, D.C.
Albert Bierstadt, Among the Sierra Nevada, California, 1868, Smithsonian American Art Museum, Washington, D.C. Albert Bierstadt - Among the Sierra Nevada, California - Google Art Project.jpg
Albert Bierstadt, Among the Sierra Nevada, California , 1868, Smithsonian American Art Museum, Washington, D.C.
John Frederick Kensett, Mount Washington, 1869, Wellesley College Museum JKensett Mount Washington (JJH-JFK001).jpg
John Frederick Kensett, Mount Washington, 1869, Wellesley College Museum
Asher Brown Durand, The Catskills, 1859, Walters Art Museum Asher Brown Durand - The Catskills - Walters 37122.jpg
Asher Brown Durand, The Catskills , 1859, Walters Art Museum

The second generation of Hudson River School artists emerged after Cole's premature death in 1848; its members included Cole's prize pupil Frederic Edwin Church, John Frederick Kensett, and Sanford Robinson Gifford. Works by artists of this second generation are often described as examples of Luminism. Kensett, Gifford, and Church were also among the founders of the Metropolitan Museum of Art in New York City. [11]

Most of the finest works of the second generation were painted between 1855 and 1875. Artists such as Frederic Edwin Church and Albert Bierstadt were celebrities then. They were both influenced by the Düsseldorf school of painting, and Bierstadt had studied in that city for several years. Thousands of people would pay 25 cents per person to view paintings such as Niagara [12] and The Icebergs . [13] The epic size of these landscapes was unexampled in earlier American painting and reminded Americans of the vast, untamed, and magnificent wilderness areas in their country. This was the period of settlement in the American West, preservation of national parks, and establishment of green city parks.

Female artists

Several women were associated with the Hudson River School. Susie M. Barstow was an avid mountain climber who painted the mountain scenery of the Catskills and the White Mountains. Eliza Pratt Greatorex was an Irish-born painter who was the second woman elected to the National Academy of Design. Julie Hart Beers led sketching expeditions in the Hudson Valley region before moving to a New York City art studio with her daughters. Harriet Cany Peale studied with Rembrandt Peale and Mary Blood Mellen was a student and collaborator with Fitz Henry Lane. [14] [15]

Legacy

Hudson River School art has had minor periods of a resurgence in popularity. The school gained interest after World War I, likely due to nationalist attitudes. Interest declined until the 1960s, and the regrowth of the Hudson Valley[ vague ] has spurred further interest in the movement. [16] Historic house museums and other sites dedicated to the Hudson River School include Olana State Historic Site in Hudson, New York, the Thomas Cole National Historic Site in the town of Catskill, the Newington-Cropsey Foundation's historic house museum, art gallery, and research library in Hastings-on-Hudson, New York, and the John D. Barrow Art Gallery in the village of Skaneateles, New York.

Collections

Public collections

One of the largest collections of paintings by artists of the Hudson River School is at the Wadsworth Atheneum in Hartford, Connecticut. Some of the most notable works in the Atheneum's collection are 13 landscapes by Thomas Cole and 11 by Hartford native Frederic Edwin Church. They were personal friends of the museum's founder, Daniel Wadsworth.

Other collections

The Newington-Cropsey Foundation, in their Gallery of Art Building, maintains a research library of Hudson River School art and painters, open to the public by reservation. [18]

Notable artists

See also

Related Research Articles

<span class="mw-page-title-main">Frederic Edwin Church</span> American landscape painter (1826–1900)

Frederic Edwin Church was an American landscape painter born in Hartford, Connecticut. He was a central figure in the Hudson River School of American landscape painters, best known for painting large landscapes, often depicting mountains, waterfalls, and sunsets. Church's paintings put an emphasis on realistic detail, dramatic light, and panoramic views. He debuted some of his major works in single-painting exhibitions to a paying and often enthralled audience in New York City. In his prime, he was one of the most famous painters in the United States.

<span class="mw-page-title-main">Albert Bierstadt</span> German-American landscape painter (1830–1902)

Albert Bierstadt was a German American painter best known for his lavish, sweeping landscapes of the American West. He joined several journeys of the Westward Expansion to paint the scenes. He was not the first artist to record the sites, but he was the foremost painter of them for the remainder of the 19th century.

<span class="mw-page-title-main">Thomas Cole</span> 19th-century English-American painter (1801-1848)

Thomas Cole was an English-born American artist and the founder of the Hudson River School art movement. Cole is widely regarded as the first significant American landscape painter. He was known for his romantic landscape and history paintings. Influenced by European painters, but with a strong American sensibility, he was prolific throughout his career and worked primarily with oil on canvas. His paintings are typically allegoric and often depict small figures or structures set against moody and evocative natural landscapes. They are usually escapist, framing the New World as a natural eden contrasting with the smog-filled cityscapes of Industrial Revolution-era Britain, in which he grew up. His works, often seen as conservative, criticize the contemporary trends of industrialism, urbanism, and westward expansion.

<span class="mw-page-title-main">Jasper Francis Cropsey</span> American painter (1823–1900)

Jasper Francis Cropsey was an American architect and artist. He is best known for his Hudson River School landscape paintings.

<span class="mw-page-title-main">Wadsworth Atheneum</span> Art museum in Hartford, Connecticut

The Wadsworth Atheneum is an art museum in Hartford, Connecticut. The Wadsworth is noted for its collections of European Baroque art, ancient Egyptian and Classical bronzes, French and American Impressionist paintings, Hudson River School landscapes, modernist masterpieces and contemporary works, as well as collections of early American furniture and decorative arts.

<span class="mw-page-title-main">Jervis McEntee</span> American painter (1828–1891)

Jervis McEntee was an American painter of the Hudson River School. He is a lesser-known figure of the 19th-century American art world, but was a close friend and traveling companion of several of the important Hudson River School artists. Aside from his paintings, McEntee's unpublished journals, written from 1872 to 1890, are an enduring legacy, documenting the life of a New York painter during and after the Gilded Age.

<span class="mw-page-title-main">William Trost Richards</span> American landscape painter (1833–1905)

William Trost Richards was an American landscape artist. He was associated with both the Hudson River School and the American Pre-Raphaelite movement.

<span class="mw-page-title-main">Sanford Robinson Gifford</span> American painter (1823–1880)

Sanford Robinson Gifford was an American landscape painter and a leading member of the second generation of Hudson River School artists. A highly-regarded practitioner of Luminism, his work was noted for its emphasis on light and soft atmospheric effects.

<span class="mw-page-title-main">Luminism (American art style)</span> American landscape painting style of the 1850s – 1870s

Luminism is a style of American landscape painting of the 1850s to 1870s, characterized by effects of light in a landscape, through the use of aerial perspective and the concealing of visible brushstrokes. Luminist landscapes emphasize tranquility, often depicting calm, reflective water and a soft, hazy sky. Artists who were most central to the development of the luminist style include Fitz Henry Lane, Martin Johnson Heade, Sanford Gifford, and John F. Kensett. Painters with a less clear affiliation include Frederic Edwin Church, Jasper Cropsey, Albert Bierstadt, Worthington Whittredge, Raymond Dabb Yelland, Alfred Thompson Bricher, James Augustus Suydam, and David Johnson. Some precursor artists are George Harvey and Robert Salmon. Joseph Rusling Meeker also worked in the style.

<span class="mw-page-title-main">Olana State Historic Site</span> Museum and landscape in Greenport, New York

Olana State Historic Site is a historic house museum and landscape in Greenport, New York, near the city of Hudson. The estate was home to Frederic Edwin Church (1826–1900), one of the major figures in the Hudson River School of landscape painting. The centerpiece of Olana is an eclectic villa which overlooks parkland and a working farm designed by the artist. The residence has a wide view of the Hudson River Valley, the Catskill Mountains and the Taconic Range. Church and his wife Isabel (1836–1899) named their estate after a fortress-treasure house in ancient Greater Persia, which also overlooked a river valley.

<span class="mw-page-title-main">Daniel Wadsworth</span> American artist and collector

Daniel Wadsworth (1771–1848) of Hartford, Connecticut, was an American amateur artist and architect, arts patron and traveler. He is most remembered as the founder of the Wadsworth Atheneum Museum of Art in his native city.

<span class="mw-page-title-main">Thomas Cole National Historic Site</span> National Historic Site of the United States

The Thomas Cole National Historic Site, also known as Cedar Grove, is a National Historic Landmark that includes the home and the studio of painter Thomas Cole, founder of the Hudson River School of American painting. It is located at 218 Spring Street, Catskill, NY, United States. The site provided Thomas Cole with a residence and studio from 1833 through his death in 1848.

<i>The Rocky Mountains, Landers Peak</i> 1863 oil painting by Albert Bierstadt

The Rocky Mountains, Lander's Peak is an 1863 landscape oil painting by the German-American painter Albert Bierstadt. It is based on sketches made during Bierstadt's travels with Frederick W. Lander's Honey Road Survey Party in 1859. The painting shows Lander's Peak in the Wyoming Range of the Rocky Mountains, with an encampment of Native Americans in the foreground. It has been compared to, and exhibited with, The Heart of the Andes by Frederic Edwin Church. Lander's Peak immediately became a critical and popular success and sold in 1865 for $25,000.

<i>The Catskills</i> (painting) 1859 painting by Asher Brown Durand

The Catskills by Asher Brown Durand, an American engraver, portraitist, and landscape artist, was commissioned by William Thompson Walters in 1858.

<span class="mw-page-title-main">Newington-Cropsey Foundation</span>

The Newington-Cropsey Foundation (NCF) is a nonprofit private organization based in Hastings-on-Hudson, New York. The foundation's aim is to maintain and preserve the works of Jasper Cropsey and the art movement he was a part of, the Hudson River School. The foundation also promotes representational painting and sculpture.

<i>Niagara</i> (Frederic Edwin Church) 1857 painting by Frederic Edwin Church

Niagara is an oil painting produced in 1857 by the American artist Frederic Edwin Church. Niagara was his most important work at the time, and confirmed his reputation as the premier American landscape painter of the time. In his history of Niagara Falls, Pierre Berton writes, "Of the hundreds of paintings made of Niagara, before Church and after him, this is by common consent the greatest."

<i>Among the Sierra Nevada, California</i> 1868 painting by Albert Bierstadt

Among the Sierra Nevada, California is an 1868 oil-on-canvas painting by German-American artist Albert Bierstadt which depicts a landscape scene of the Sierra Nevada mountain range in California. Created at his studio in Rome, the painting was exhibited throughout Europe, creating interest in immigration to the United States. Measuring 72 by 120+18 inches, the painting is a centerpiece of the 19th-century landscape collection at the Smithsonian American Art Museum in Washington, D.C.

<i>Kaaterskill Falls</i> (painting) Painting by Thomas Cole

Kaaterskill Falls is an 1826 oil-on-canvas painting by British-American painter Thomas Cole, founder of the Hudson River School. It depicts the Kaaterskill Falls in Upstate New York.

References

Notes

  1. 1 2 Kennet T. Jackson (1995). The Encyclopedia of New York City. Yale University. p. 174. ISBN   0-300-05536-6.
  2. Howat, John K (1987). American Paradise: The World of the Hudson River School. New York: Metropolitan Museum of Art, Harry N. Abrams, Inc. pp. 3, 4.
  3. Kornhauser, Elizabeth Mankin; Ellis, Amy; Miesmer, Maureen (2003). Hudson River School: Masterworks from the Wadsworth Atheneum Museum of Art . Wadsworth Atheneum Museum of Art. p. vii. Retrieved June 26, 2016.
  4. "The Panoramic River: the Hudson and the Thames". Hudson River Museum. 2013. p. 188. ISBN   978-0-943651-43-9 . Retrieved June 23, 2016.
  5. "The Hudson River School: Nationalism, Romanticism, and the Celebration of the American Landscape". Virginia Tech History Department. Retrieved June 26, 2016.
  6. John K. Howat: American Paradise: The World of the Hudson River School, S. 311
  7. 1 2 O'Toole, Judith H. (2005). Different Views in Hudson River School Painting. Columbia University Press. p. 11. ISBN   9780231138208.
  8. Boyle, Alexander. "Thomas Cole (1801–1848) The Dawn of the Hudson River School". Hamilton Auction Galleries. Retrieved 19 December 2012.
  9. "Asher B. Durand". Smithsonian American Art Museum: Renwick Gallery. Smithsonian Museum. Archived from the original on June 7, 2011. Retrieved June 26, 2016.
  10. Angela Miller, The Empire of the Eye (1996); Alfred L. Brophy, Property and Progress: Antebellum Landscape Art and Property, McGeorge Law Review 40 (2009): 601-59.
  11. Avery, Kevin J. "Metropolitan Museum of Art: Frederick Edwin Church". Metropolitan Museum of Art . Retrieved 19 December 2012.
  12. "Corcoran Highlights: Niagara". Corcoran Museum of Art. Archived from the original on 15 July 2011. Retrieved 19 December 2012.
  13. Potter, Russell A. "Review of 'The Voyage of the Icebergs: Frederic Edwin Church's Arctic Masterpiece'". Rhode Island College. Retrieved 19 December 2012.
  14. Dobrzynski, Judith H. "The Grand Women Artists of the Hudson River School". Smithsonian. Retrieved 28 May 2013.
  15. "Remember the Ladies: Women Artists of the Hudson River School". Resource Library. Traditional Fine Arts Organization, Inc. Retrieved 28 May 2013.
  16. Zimmer, William (October 17, 1999). "Hudson River School Just Keeps on Rolling". The New York Times . Retrieved May 15, 2018.
  17. White, Mark Andrew (2002). Progress on the Land: Industry and the American Landscape Tradition. Oklahoma City, OK: Melton Art Reference Library. pp. 6–13. ISBN   0-9640163-1-1.
  18. Hershenson, Roberta (November 7, 1999). "Work Is in Dispute, but Cropsey's Home Is Open". The New York Times. Retrieved April 29, 2018.
  19. Encyclopedia Britannica
  20. Allaback, Sarah. "19th Century Painters: Hudson River School" (PDF). 2006. Hudson River Valley National Heritage Area. Archived from the original (PDF) on 16 May 2013. Retrieved 19 December 2012.
  21. Rickey, Frederick. "Robert W. Weir (1803–1889)". United States Military Academy. Archived from the original on 29 September 2012. Retrieved 19 December 2012.

Sources