![]() ![]() In the late 1840s and the early ‘50s, this Connecticut-born painter kept very much to New England, creating an amalgam of his visual experiences on canvases that reflect the optimistic belief in the harmony of man with nature in pre-Civil War America. 72.2.3.Ĭhurch’s early American pictures partake of the nationalism that was rampant in the mid-nineteenth century, as evident among the landscape painters-Church included-who later became known as the “Hudson River School” (originally a term of disparagement coined when the works had gone out of favor). ![]() Courtesy of Carnegie Museum of Art, Pittsburgh, PA. 5), painted in 1846, which repeats his teacher’s concern for the passage of time and even adopts the oval format of a number of Cole’s domestic scenes of the 1840s, and more mature works of the early 1850s.įig. More recently, recognition has been awarded to the North American landscapes, both those painted immediately following his study with Cole, such as New England Landscape with Ruined Chimney (Fig. 1 At that time, Church was esteemed primarily for Niagara and his South American landscapes of the later 1850s and early ‘60s. ![]() Huntington, who completed his dissertation on Church at Yale University in 1966 and subsequently became instrumental in the renovation of Olana, now a center for Church study and scholarship. Karolik collection of American paintings by the Museum of Fine Arts, Boston, and, more specifically, through the efforts of the late art historian David C. Church’s reputation was revived in the 1960s, first by the general appreciation of mid-nineteenth century American painting that resulted from the formation and publication of the M. Church’s retreat from the country’s art scene corresponded to the public’s preference for the French-derived Barbizon aesthetic of more generalized and poetic landscapes over the carefully defined, expansive interpretation that identified the Hudson River School, of which Church was one of the last, and surely the greatest master.īy the time Church died in 1900, he had been all but forgotten, and while The Metropolitan Museum of Art in New York mounted a small show of his paintings less than two months after his death, Church’s great pictures were to go unappreciated for many decades. 3), is a small, somber reminiscence of his great The Icebergs (Fig. His last significant picture, The Icebergs (Fig. 2) distinctly suggest a composite memory image, as do a series of smaller paintings of the 1880s. For the first few following years, Church continued to produce masterworks, but by the late 1870s, his few major pictures, such as El Rio de Luz (Fig. Church retained his supremacy in American landscape painting until he settled in 1872 into Olana, his ornate home outside of Hudson, New York, on which construction had begun in 1870. Church’s reputation was enhanced when several of his works achieved critical recognition in London and the approval of John Ruskin, who admired Church’s great 1857 canvas, Niagara (Fig. When, in 1855, Frederic Edwin Church began to exhibit his paintings of the South American landscape, based on his first voyage there two years earlier, he was quickly recognized as America’s greatest landscape painter, heir to that identification achieved by his teacher, Thomas Cole. ![]() Courtesy of Corcoran Gallery of Art, Washington, D.C. ![]()
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