Transcript THOMAS COLE and The American Landscape

THOMAS
COLE
and
The American
Landscape
1801-1847
PORTRAIT OF THOMAS COLE
ASHER B. DURAND-1838-30 ½ X 25”
LANDSCAPE- 1825- 24 X 32”
LOCALES OF
THE
HUDSON
RIVER
SCHOOL
DANIEL BOONE SITTING AT THE DOOR OF HIS CABIN ON THE GREAT
OSAGE LAKE, KENTUCKY-1826- 38 X 42”
ROMANTICISM
Among the characteristic attitudes of Romanticism were the
following: a deepened appreciation of the beauties of nature; a
general exaltation of emotion over reason and of the senses over
intellect; a turning in upon the self and a heightened examination of
human personality and its moods and mental potentialities; a
preoccupation with the genius, the hero, and the exceptional figure in
general, and a focus on his passions and inner struggles; a new view
of the artist as a supremely individual creator, whose creative spirit is
more important than strict adherence to formal rules and traditional
procedures; an emphasis upon imagination as a gateway to
transcendent experience and spiritual truth; an obsessive interest in
folk culture, national and ethnic cultural origins, and the medieval era;
and a predilection for the exotic, the remote, the mysterious, the
weird, the occult, the monstrous, the diseased, and even the satanic.
SUNNY MORNING ON THE HUDSON RIVER- 1827- 19 X 25”
ROMANTICISM
The term designates a literary and philosophical theory that
tends to see the individual at the center of all life, and it places
the individual, therefore, at the center of art, making literature
valuable as an expression of unique feelings and particular
attitudes (the expressive theory of criticism) and valuing its
fidelity in portraying experiences, however fragmentary and
incomplete, more than it values adherence to completeness,
unity, or the demands of genre. Although romanticism tends
at times to regard nature as alien, it more often sees in nature
a revelation of Truth, the "living garment of God," and a
more suitable subject for art than those aspects of the world
sullied by artifice. Romanticism seeks to find the Absolute,
the Ideal, by transcending the actual, whereas realism finds its
values in the actual and naturalism in the scientific laws the
undergird the actual.
PICTURESQUE
CHARACTERISTICS OF THE PICTURESQUE LANDSCAPE
• ORGANIC forms and SYMBOLISM OF NATURE were employed
in the naturalistic but completely contrived environments.
• Landscapes could be appreciated statically, like scenes in a painting,
employing the same artistic rules of composition, in the quest for
AESTHETIC HARMONY.
• They could also be enjoyed cinematically, moving through a
SEQUENCE OF SPACES.
• The landscapes were punctuated by structures that included classical
and Gothic architecture.
• Compositions were further enhanced by ICONOGRAPHY, both
humanistic and political, that was variously expressed through a blend
od statuary, grottoes, temples, and genuine faux ruins.
• Poussin, Lorrain, Turner
(digndream.files.wordpress.com/2011/11/10picturesque1.pdf)
CHIAROSCURO
• Chiaroscuro (English pronunciation: /kiˌɑːrəˈskjʊəroʊ/;
Italian: [kjarosˈkuːro]; Italian for light-dark) in art is the use of
strong contrasts between light and dark, usually bold contrasts
affecting a whole composition. Chiaroscuro is also a technical
term used by artists and art historians for using contrasts of
light to achieve a sense of volume in modelling threedimensional objects such as the human body.[1] Similar effects in
the lighting of cinema and photography are also often called
chiaroscuro. (From Wikipedia, the free encyclopedia)
• Rembrandt, Caravaggio, El Greco
SUNRISE IN THE CATSKILL MOUNTAINS- 1826- 26 x 36”
LANDSCAPE WITH FIGURES: A SCENE FROM “THE LAST OF
THE MOHICANS”- 1826- 26 X 43”
LANDSCAPE WITH DEAD TREE-1826- 27 X 33”
SAINT JOHN IN THE WILDERNESS (AND DETAIL)- 1827- 36 X 29”
THE GARDEN OF EDEN- 1828- 39 X 45”
EXPULSION FROM THE GARDEN OF EDEN- 1828- 39 X 54”
NIAGRARA FALLS- 1830- 19 X 24”
STYLES IDENTIFICATION
An Entry Into to Works of Art
(From Don Marr-Emeritus Professor of Art)
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To Identify Styles in the History of Art.
A Way To Understand Works of Art.
A Way To Understand Differences in Works of Art.
Think in Terms of “Generalities” not “Specifics”.
Making Relative Judgments.
IDEA-The History of Art is a Progression.
Working With Polar Terms
Two Levels of EntryWORKS OF ART
· SUBJECT MATTER
· FORM
· CONTENT
ELEMENTS OF ART
· LINE
· VALUE
· COLOR
· TEXTURE
THREE QUALIFIERS OF STYLE
· STYLE OF SCHOOL
· STYLE OF ARTIST
· STYLE OF COUNTRY
Principles of Art History(1915)Heinrich Wolfflin (1864-1945)
William Cullen Bryant-1830
A WILD SCENE- 1831- 51 X 76”
AQUEDUCT NEAR ROME- 1832- 45 X 68”
INTERIOR OF THE COLOSSEUM,ROME- 1832- 10 X 18”
VIEW OF FLORENCE FROM SAN MINIATO- 1837- 39 X 63”
THE COURSE OF EMPIRE: THE SAVAGE STATE-1836- 39” X 63”
THE COURSE OF EMPIRE: THE ARCADIAN OR PASTORAL STATE- 1836- 39 X 63”
THE COURSE OF EMPIRE: THE CONSUMMATION OF EMPIRE- 1835- 51 X 76”
THE
COURSE OF EMPIRE:
THE
CONSUMMATION OF
EMPIRE- 1836
DETAIL
“wholly within the
bounds of time, with
no living, actual
relation, any more
than the the Iliad, to a
life hereafter- to the
world of Christian
revelation…” ( Noble,
168)
THE COURSE OF EMPIRE-DESTRUCTION- 1836- 39 X 63”
THJE COURSE OF EMPIRE: DESOLATION- 1836- 39 X 63”
THE OXBOW- 1836- 52 X 76”
SCHROON MOUNTAIN- 1838- 39 X 63”
THE DEPARTURE- 1838- 40 X 63”
THE RETURN- 1838- 40 X 63”
THE PAST
AND
THE
PRESENT
1838
40 X 61”
DREAM OF ARCADIA- 1838- 39 X 63”
THE NOTCH OF THE WHITE MOUNTAINS- 1839- 60 X 62”
PORTAGE FALLS ON
THE GENESSEE
1839
84 X 60”
THE VOYAGE OF LIFE:CHILDHOOD- 1839-40- 52 X 78”
THE VOYAGE OF LIFE: YOUTH- 1840- 52 X 78”
THE VOYAGE OF LIFE- 1840- 52 X 78”
THE VOYAGE OF LIFE-OLD AGE- 1840- 52 X 78”
VALLEY OF THE
VAUCLUSE
1841
69 X 49”
MOUNT ETNA- 1842- 32 X 48”
EVENING IN ARCADY- 1843- 32 X 48”
THE TEMPLE OF SEGESTA WITH THRE ARTIST SKETCHING- 1843- 19 X 30”
CATSKILLS MOPUNTAIN HOME- 1843- 29 X 36”
ANGELS
MINISTERING TO
CHRIST IN THE
WILDERNESS
1843
72 X 57”
MOUNT ETNA FROM TAORMINA- 1843- 79 X 121”
L’ ALLEGRO- 1845- 21 X 48”
IL PENSEROSO- 1845- 32 X 48”
THE OLD MILL AT SUNSET-1845-26 X 36”
FRENCHMAN’S BAY, MT. DESERT ISLAND, MAINE-1844- 13 X 23”
VIEW ACROSS FRENCHMAN’S BAY FROM MOUNT DESERT ISLAND, AFTER A
SQUALL- 1845- 38 X 62”
THE CROSS IN THE
WILDERNESS
1845
28 X 28”
MOUNTAIN FORD- 1846- 28 X 40”
HOME IN THE WOODS- 1847- 44 X 66”
THE HUNTER’S RETURN- 1845- 40 X 60”
THE PIC-NIC- 1846- 45 x 72”
PROMETHEUS BOUND- 1846- 64 X 96”
ARCH OF NERO
1846
60 X 48”
THE CROSS AND THE WORLD: STUDY FOR” TWO YOUTHS ENTER UPON A
PILGTIMAGE-ONE TO THE CROSS, THE OTHER TO THE WORLD”- 1846-12 X 18”
THE CROSS AND THE WORLD: STUDY FOR “ THE PILGRAM OF THE WORLD ON
HIS JOURNEY”- 1846-47- 12 X 18”
THE CROSS AND THER WORLD: STUDY FOR” THE PILGRAM OF THE CROSS AT
THE END OF HIS JOURNEY”- 1846- 12 X 18”
THE CROSS AND THE WORLD: STUDY FOR “ THE PILGRAM OF THE WORLD AT
THE END OF HIS JOURNEY”- 1846-47- 12 X 18”
UNFINISHED LANDSCAPE (THE CROSS AT SUNSET)- 1847-32 X 48”
TO THE MEMORY OF COLE-FREDERIC CHURCH- 1848- 32 X 49”
KINDRED SPIRITS
ASHER B. DURAND
1849
CYRSTAL BRIDGES
MUSEUM OF
AMERICAN ART
BENTONVILLE,
ARKANSAS
GOD’S
JUDGEMENT
UPON GOG
ASHER B.
DURAND
1851
61 X 51”
TWILIGHT IN THE WILDERNESS-FREDERIC CHURCH-1860