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Art in America > Module 3 > Flashcards

Module 3 Flashcards

1
Q

This school develops what important subject?

A

Landscape painting emerges in the early 19c as an important subject, one developed by the Hudson River School

God in nature, the connection between land and spirit.
Untamed nature as a subject.
Three traditions: beautiful, sublime, picturesque
In contrast to romantisism (altson)

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2
Q

Americans’ first native art movement.

A

Hudson River School
A marriage of naturalism and idealization
Landscapes of the Catskills
Thomas Cole founder.

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3
Q

Who’s death inspires painters to pursue landscape themes here and abroad. He founded the Hudson River School. Born in England, came to America in 1818. Specializes in the landscape. Self-taught copying paintings and prints studied in Europe. Supported by Trumbull, and wealthy patrons/landscape tourists.

A

Thomas Cole

Inspired:
Robert Scott Duncanson
Frederic Edwin Church

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4
Q

Two popular subjects for artworks at this time.

A

The American West and Native Americans inspire artists.

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5
Q

What technology became a significant symbol of progress?

A

The train becomes a significant symbol of progress.

It’s depicted as a symbol of industrial progress and change or of man’s exploitation of nature.

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6
Q

How is art changing at this time? What are two significant themes that emerge?

A

Genre and still life are significant themes, as is portraying changing roles of women.

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7
Q

What brings settlers away from the east coast?

A

Manifest Destiny moves settlers away from the East.

Louisianna Purchase and Expedition of Lewis and Clark quicken the pace of westward expansion and land acquisition by Europeans and their descendants.

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8
Q

Niagara Falls from an Upper Bank on the British Side,

A

John Trumbull
c. 1808

Picturesque view. Inspired by French works by Claude Lawrence and Nicholas Poussaint.

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9
Q

Distant View of Niagara Falls

A

Thomas Cole
1830

Sublime, in tradition of Euro painter Salvator Rosa
Vastness and power of the natural world
Wild landscape, native peoples showed on a cliff.
Propaganda (ish) for western expansion.

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10
Q

The Falls at Kaaterskill

A

Thomas Cole
1826

Catskill area, a popular region for Hudson River School.
Wildness, Sublime
William Cullen Bryant, poem- to an American painter departing for Europe.

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11
Q

The Course of Empire: The Savage State

#1 Dawn

A

Thomas Cole
1833-36

Landscapes with greater purpose.
1/5 Dawn
stormy, the nucleus of native life

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12
Q

The Course of Empire: The Pastoral or Arcadian State

#2 Morning

A

Thomas Cole
1834

Landscapes with greater purpose.
2/5 Morning
Idealized, pre-urban ancient (Greece)
clear sky, spring or summer, settle land develops, lawns and plowed fields, boating, dancing, a temple built,

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13
Q

The Course of Empire: Consummation, 1835-36

#3 Noon

A

Thomas Cole
1835-36

Landscapes with greater purpose.
3/5 Noon
Hight of ancient Rome
Collumnated marble development 
The megalithic temple now dominates
Water is guarded
Exploration on boats 
King and General being celebrated
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14
Q

The Course of Empire: Destruction

#4 Afternoon

A

Thomas Cole
1836

Landscapes with greater purpose.
4/5 Afternoon
Reminiscent of the vandal’s sack of Rome
Same perspective, but center of the river
Destruction of the city
Inhabitants are overtaken by enemies
Bridge broken

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15
Q

The Course of Empire: Desolation

#5 Evening

A

Thomas Cole
1836

Landscapes with greater purpose.
5/5 Evening
Light of a dying day, moonrise
Abandoned, ruins, returning to nature

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16
Q

The Titan’s Goblet

A

Thomas Cole
1833

Most romantic and fantastic painting - no one was into it.
The grandeur of the past, the passage of time, encroachment of nature. Disassociation from the present, far from the realism of earlier works.

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17
Q

Kindred Spirits

A

Asher B. Durand
1849

Thomas Cole successor as leader of American landscape movement. Now president of the National Academy of Design.

Portrayed here: Cole and William Cullen Bryant (poet).
Quintessential Hudson River School landscape.
Sturges commissioned, a friend of Reed and Bryant. Given to Bryant upon Cole’s death.
Natural references inspired by Keats poem O Solotude!.
References the marriage of naturalism and idealism central to Hudson River School whose future was in the careful depiction of nature.

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18
Q

Landscape with Rainbow, 1859

A

Robert Scott Duncanson

AA landscape painter, inspired by Cole.
Voted best Landscape painter of the west by American Press, London dug him. Rivals the other greats in the Hudson River Style.
Diorama painter, engraver of other works, photographer, muralist, studies across Europe.
Style is less idealized tradition, similar to Durand.
From Cincinnati - 19c major art center.

This, Claude Lorrain, inspired him, classic and atmospheric elements. Diagnosis. Nature’s harmony and beauty and not terror and power of its nature.

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19
Q

The Peaceable Kingdom of the Branch, c. 1825-30

A

Edward Hicks,

Biblical narrative within American landscape
Quaker minister from Bucks County, PA with a sign maker background, reflected in the text in frame. Simplicity

This, Isaiah 11:6 narrative also in print around the frame.
depicts natural land bridge in Virginia. William Penn scene under the bridge.

Unity and peace messages during a time when two sects in the Quaker church were being established over a dispute.

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20
Q

Niagara, 1857

A

Frederic Edwin Church

Dramatic
Sublime
Illusion of reality
Monolithic 
Nationhood, Power of empire
nations greatest natural wonder
Viewed from the Canadian shore
one painting exhibition - monumental canvas - this was a big deal. chromolithograph available. 
100K visitors saw this in a week. 
Finest oil to be painted on this side of the Atlantic said critic. 
1967 Paris exposition.
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21
Q

Twilight in the Wilderness, 1860

A

Frederic Edwin Church

Painted in NY studio
Sunset in Main. 
Created on even of the Civil War. 
Another single painting exposition. 
Tells of the looming turmoil.
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22
Q

Our Banner in the Sky, 1861

A

Frederic Edwin Church

Hits on important themes of his time: National identity, progress, destiny.

Patriotic and artistic response to confederate attack on Fort Sumpter. You can see the American flag at center
/ of nature in heavens/union guided higher purpose. Defending the union / nature used to communicate more than what meets the eye.

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23
Q

The Heart of the Andes, 1859

A

Frederic Edwin Church

large romantic
Ideas of art theory by John Ruskin and scientific writings of Von Humbolt. Nature tells us of a cosmic plan. Changed Church’s romantic style to that of an explorer. First American to visit South America. Andes of Ecuador. maturation of his painting. More intense color, and attention to atmosphere.

This, 12k-13k people each month came to see it. Shown in NYC and London.

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24
Q

Cotopaxi, 1862

A

Frederic Edwin Church

Example of sublime and romantic style in his later years. Charles Darwin, Humbolt, Cotopaxi active volcano, natural history, and geology. Clues to the age and origin of the earth. Symbol of primeval nature and spiritual renewal for civilization. Painted after outbreak of Civil War - connected to current events / distant exotic site before wide us of photography and travel.

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25
Q

Icebergs, 1861

A

Frederic Edwin Church

Depictions of foreign lands.
Exposition of Sir John Franklin, lost 1847 while seeking NW passage. Romantic ice.

Successor to English painter William JMW Turner.
Sold for 2.5M - biggest sale for American painter at the time in 1979. Now donated to Dallas Museum of Art.

26
Q

Aurora Borealis, 1865

A

Frederic Edwin Church

Dr. Issac, polar explorer. Artic exhibition. Inspiration.
Northern Lights, divine omen related to Civil War.

27
Q

Calvert Vaux, Olana, Olana, 1870-72 and 1888-89, Hudson, NY

Persian as adopted by the occident

A

Purchased property overlooking the Hudson river
New house

Middle eastern motifs and exterior elements. inspired by travels and middle eastern cities: Beirut/Jerusalem/Damascus.

Calvert Vaux architect worked closely with Chruch who designed stencils and painted rooms. Moved in 1870 and by 1891 it was completed.

28
Q

The Rocky Mountains, Lander’s Peak, 1863

A

Albert Bierstadt

While Church was focused on the east, Bierstadt focused on the west. Subjects, western mountain ranges. Studio trained in Europe + outdoor sketching.

This, major work from first trip to west.

Part of Lander expedition. Wind River Range, Wyoming. Named Lander’s peak after Lander’s death in the war.

Showcases belief that native populations were destined to make way for European settlers. Native populations are removed. 6’ X 10’.

29
Q

Valley of the Yosemite, 1864

A

Albert Bierstadt

Second trip out west with Ludlow, author. Atlantic monthly article.

30
Q

Chasm of the Colorado, 1873

A

Thomas Moran

This is Moran’s second grand landscape, his first view of the Grand Canyon. Worked with Jack Hillers, photog. Purchased by Congress. 7’ X 12’ huge canvas.

Painted from exploration on the Colorado River with explorer John Westly Powell. They went to the North Rim of the Canyon in 1873.

31
Q

study for Westward the Course of Empire Takes its Way (Westword Ho!), 1861

A

Emmanuel Leutze

Continental divide looking toward the pacific ocean. Golden gate is in the distance. Rocky mountains in the final painting. It’s named after a Berkely poem. William Clark in portrait on the right, and Daniel Boone in portrait on the left. Quotes from Swell’s prologue in George Joseph Addison’s play “Cato, a Tragedy”. Land is the key to prosperity, believed Europeans. This painting celebrates the ideals of Manifest Destiny. Threshold of the promised land. Imagery of Moses and the Israelites shown in border.

The final was a 20 X 30’ mural.

32
Q

This is a study for the mural Leutze executed for the United States Capitol, 1861-2

A

study for Westward the Course of Empire Takes its Way (Westword Ho!), 1861

33
Q

Portrait of George Catlin, 1849

A

William Fisk

When Catlin takes his Indian Gallery on tour to Europe, Fisk paints this portrait in London. Blackfoot Indians. Based on paintings from Catlin.

34
Q

painting a Chief at the base of the Rocky Mountains, frontispiece to Letters and Notes, 1841

A

George Catlin

Catlin at work.

35
Q

Mah-To-Toh-Pa (Four Bears), Mandan Chief

A

George Catlin
The second chief of the Mandan tribe to be shown to whites. Upper Missouri River, both Dakota. A favorite subject of artists. Smallpox outbreak. Dies of Smallpox. 80% of the Mandan tribe wiped out. Manly dignity.

36
Q

The Last Race, Part of Okipa Ceremony (Mandan), 1832

A

George Catlin

Upper Missouri, important ritual being depicted. Fasting, feats of strength. Bull dance, fertility dance. The last race is depicted here.

37
Q

Wi-jún-jon, Pigeon’s Egg Head (The Light) Going To and Returning From Washington, 1837-1839

A

George Catlin

Documentation of changes happening as a result of Euro-American and Native American contact. This warrior was from the Assiniboine tribe in northern plains. Wore general’s outfit home bringing tales to his people of what he saw. He was murdered for telling “lies”.

38
Q

This art show includes a group of traveling indians from Iowa. They show in England and France, for Queen Victoria and Albert at Windsor Palace, depicted on this sketch.

A

Catlin’s Indian Gallery on tour.

Other shows include London’s Egyptian Hall, In Louvre there’s a TP installed and in Paris for the reigning monarchs in Tuileries Palace. It’s this final event that is shown in a portrayal by a French Painter.

39
Q

Progress, 1853

A

Asher B. Durand

Commissioned by railway tycoon.
Settlement, infrastructure, technology, to the right.
Wilderness and native peoples on the left.
Capturing the transformation of landscape from westward expansion. A symbolic landscape.

40
Q

View of Cincinnati from Covington, Kentucky, 1858

A

Robert Scott Duncanson

Focus on the specifics of this site. The city of Cincinnati in contrasts with rural Covington Kentucky in the foreground. Water symbolizes freedom for African Americans because water often separated a state with slaves from one without.

41
Q

The Lackawanna Valley, c. 1855

A

George Inness

Concerned with a location. Commemorates onset of American’s Industrial age. Railroad, commissioned it, topographic view of Scranton PN. Exaggerated prominence of railroad roundhouse. The ax is successful in cutting back untamed nature. Train represents the technology of civilization of the time. Exemplifies a crucial philosophical dilemma. expansion = destruction. Ephemeral nature of the American dream.

42
Q

Starrucca Viaduct, Susquehanna Valley, 1865,

A

Jasper Francis Cropsey
Toledo Museum of Art

Member of the Hudson River School. Influenced by Cole.
Upstate New York. Ideal landscape. Painting as a moral enterprise. Emphasizes the serenity of nature.

This, a celebration of American nature and industry. New York and Erie railroads built this in NE PENN.
Wilderness in this painting dominant, suggesting that nature can absorb the technology of man, and the train is depicted as unobtrusive. Emphasis of beauty of the valley. Man and nature in harmony.

43
Q

Bargaining for a Horse, 1835

A

William Sidney Mount

Genre painting
White males moving up, Yankeeims.
Lumen Reed commissioned.
Rural life. These men have nothing to do with the actual raising of the horse, signifying a lack of hard work.
Visual pun, horse-trading colloquialism meaning promise of material benefit in exchange for political support. Suggests the bargain is not important. Delayed, distracting from the bargain, serves as an indictment of social, economic, political bargains as distasteful.

44
Q

Jolly Flatboatmen, 1846

A

George Caleb Bingham
Missouri artist became a well-known Westerner Genre Painter. Known for riverboat scenes.

Recreated the sites and sounds of the Mississippi river in St. Louis. After work flatboat party. Flatboats were replaced by steamboats. Nostalgic view of the river.

45
Q

Fur Traders Descending the Missouri, 1845

A

George Caleb Bingham

Westerner is viewed to have more limited ethnic divisions, a more egalitarian life. Embodies easterners’ dream of classlessness. Issue of race. left to right from beast to civilized. Trader and his son, exoticism.
No women are represented

46
Q

Ariadne Asleep on the Island of Naxos, 1809-14

A

John Vanderlyn (Vanderbilt-Verlyn)

Changing representation of women.
Vanderlyn, Paris over London first American artist to study in France, he also painted the death of Jane Mcrea. He studied with Gilbert Stuart, his grandfather was portraitist in Hudson river valley. This is his most famous painting. One of the first nudes to ever be exhibited in America.

47
Q

Kiss Me and You’ll Kiss the ‘Lasses, 1856

A

Lily Martin Spencer

Playful, flirtation, sexuality, domestic setting
Anecdotal kitch. scene commissioned by cosmopolitan. art association. promoted art by women for women. Proper victorian but unconventional attonomy.

48
Q

Vegetables and Yellow Blossoms, 1828

A

James Peale

Still-life painting.
Brother of Charles Willson Peale.

49
Q

Golden Eagle Female Adult, 1833-44

A

John James Audubon

Example from Birds of America. Hand-colored lithograph.
Wildlife artist | Around the Mississippi River and south.
Sailed to England. Succes there represents the romantic era of the content. Often depicted violent scenes, like this one, the Eagle with her rabbit kill. He also made the Viviparous Quadrupeds of North America.

50
Q

He wrote “To an American painter departing for Europe”, a great friend of Thomas Cole. Asher B. Durand depicts him with Cole in “Kindred Spirits”

A

William Cullen Bryant

51
Q

John James Audobon’s seminal work included 435 lifesize prints depicting illustrations of 1065 birds representing 489 species. Hand-colored lithographs, printed between 1828-1838 first in Edinburgh then London.

A

Birds of America

52
Q

Albert Bierstadt paints it, Ludlow writes about its beauty in Atlantic Monthly. Thomas Starrr King talks about its virtues from his pulpit.

A

Yosemite National Park (1890)

53
Q

With the help of Moran’s watercolors and photos from Willian Henry Jackson, this National Park was established, the first in American history.

A

Yellowstone National Park (1872)

54
Q

First awarded federal protection in 1893 as a forest preserve, and then as a national monument, this park did not receive Park status until after the National Park Service was established. Painted by Moran. The North Rim has named a Moran point.

A

Grand Canyon National Park (1919)

55
Q

What’s a historical landscape?

A

Created by Thomas Cole who moves from wild landscapes to ‘historical landscapes’

Works imbued with the spirit of historical and religious paintings. Moral messaging.

Influenced by: Federalism. Patrons: landowners + merchant middle-class. The newly rich rise in power.

56
Q

“First freedom and then Glory - when that fails, Wealth, vice, corruption - barbarism at last” ~Lord Byron

“A universal statement about historical inevitability”

This refers to what series of work?

A

Thomas Cole’s great cycles

The five stages of The Course of Empire: Savagery - Arcadia - Consummation - Destruction - Desolation.

Title inspired by George Bishop George Berkley.
Merchand Reed commissioned cycle.
Pessimistic. Cyclical view of the rise and fall of a civilization. Each starts with a new time of day to indicate the passage of time.

Influences: Rise and Fall of the Roman Empire. Lord Byron poem. His concern about the fall of American wilderness.

57
Q

He was a panoramic landscape artist, first student of Thomas Cole. Brings together the real and ideal, science and religion, the celebratory presentation of the wilderness altered by civilization. Became most famous painter in America with international fame.

A

Frederic Edwin Church

Mid-century his style shifts from:
pastoral landscape to dramatic wilderness.
Opens studio in 1847, active in the artistic community in New York. Elected into full status at the Academy of Design in NY.

58
Q

He is credited for bringing Americans’ attention to the Grand Canyon through visual imagery. His watercolors were attributed to helping Yellowstone become the first established national park in 1872. The Grand Canyon of the Yellowstone was his breakthrough work.

A

Thomas Moran

59
Q

He depicts Native American Life on the American plains. He wants to preserve these accounts for future generations. Prolific. Takes his gallery to Europe.

A

George Catlin

60
Q

This is the portrayal of everyday life. Common subjects were the Oman (sp?) farmer and the Westerner. Popular during the Antebellum period. 1830-1860 in NYC.

A

Genre painting.

61
Q

This is a stereotype of northerners - while south expands slavery while northerners pursued entrepreneurial and commercial success. New England farmers, clumsy, suspicious of progress, foreign to urbanites like New Yorkers. Blatant commercial drive, peddlers who trade their integrity. Emobies fears that the Northeast would take over the nation.

A

Yankeeism.

62
Q

Seen as lesser value than landscape and figure painting.

In the 19c. veggies have their time, then flowers, then meat and fish.

A

Stillife.

Art in America (7 decks)

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