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Hudson River School artists shared an awe of the magnificence of nature as well as a belief that the untamed American scenery reflected the national character. In this new work, color reproductions of more than 115 paintings capture the beauty and illuminate the aesthetic and philosophical principles of the Hudson River School painters. The pieces included in this volume reflect a period (1825-1875) when American landscape painting was most thoroughly explored and formalized with personal, artistic, cultural, and national identifications. Judith Hansen O'Toole reveals the subtleties and quiet majesty of the works and discusses their shared iconography, the ways in which artists responded to one another's paintings, and how the paintings reflected nineteenth-century American cultural, intellectual, and social milieus. Different Views is also the first major study to examine closely the Hudson River School artists' practice of creating thematically related pairs and series of paintings. O'Toole considers painters' use of this method to express different moods and philosophical concepts. She observes artists' representations of landscape and their nuanced depictions of weather, light, and season. By comparing and contrasting Hudson River School paintings, O'Toole reveals differences in meaning, emotion, and cultural connotation. Different Views in Hudson River School Painting contains reproductions of works from a range of prominent and lesser-known artists, including Jasper Francis Cropsey, Sanford Robinson Gifford, Asher B. Durand, Frederic Edwin Church, Albert Bierstadt, John Frederic Kensett, and John William Casilear. The works come from a leading private collection and were recently exhibited at the Westmoreland Museum of American Art.
The Monongahela River Valley in Southwestern Pennsylvania is steeped with a rich industrial history. Starting with iron, brass, tin, and glass production, the river towns--from Brownsville to Braddock--ultimately helped make Pittsburgh the one-time steelmaking capital of the world. With this industrial legacy in mind, artist Ron Donoughe set out to document the small towns in this region, one painting at a time. Over a twelve-month period, he explored the forgotten towns of Brownsville, California, Donora, Charleroi, Monessen, Monongahela, Clairton, Duquesne, McKeesport, Braddock, and the Monongahela River itself. Brownsville to Braddock provides key insight on a forty-mile stretch of river towns. The post-industrial economy led to a decline in manufacturing, and with it, substantial job losses. These towns face many significant challenges, yet there is still beauty to be found. Donoughe finds it as he paints the human spirit through the mills, factories, parks, and homes. The people he meets share their stories of family joy and sorrows, along with a genuine love for the area they call the "Mon Valley."
An exploration of nineteenth-century American landscape painter Thomas Cole and the influential role of his studio for other artists of the Hudson River School. In December 1846, Thomas Cole excitedly began work in his new studio, but his early death left his great ambitions unfinished. His influence, both through works from his early career and ones he worked on in a self-designed studio during his final year, was truly profound for others who followed his example. In Thomas Cole's Studio: Memory and Inspiration, the artist's achievements and impact on future artists are described by renowned Cole scholar Franklin Kelly, along with contributions from three additional authors. Together, they offer a new understanding of the critical last phase of Cole's career and his lasting effect on other artists, as well as his unrealized ambitions.
This first full-length account of the Darby School of Art overturns Philadelphia’s long-held unwarranted reputation and demonstrates that Philadelphia was a hub of avant-garde painting in the early twentieth century. This first full-length account of the Darby School of Art overturns Philadelphia’s long-held unwarranted reputation as artistically stodgy—unwilling and unable to embrace Impressionism, post-Impressionist, and abstract art—and demonstrates that Philadelphia was more avant-garde in the early twentieth century than previously thought. This is the story of an almost completely forgotten summer art school that flourished first in Darby, PA, and then in Fort Washington, PA, between 1898 and 1918. The Darby School of Art was founded and operated by Thomas Anshutz and Hugh Breckenridge, two artists who taught during the academic year at the Pennsylvania Academy of the Fine Arts. Anshutz and Breckenridge brought a lot of new ideas about painting back to Philadelphia after their European sojourns, and introduced those ideas to a public that was initially not very responsive to Impressionism, Post-Impressionism, and semi-abstract art. But an appreciation for modern styles of painting began to slowly grow among Philadelphia artists and collectors, and Anshutz and Breckenridge were in the forefront of this development. They also sympathized with what some have called the "New Woman" movement, which backed women who wanted to pursue careers outside of the home. In this new history, expert Mark Sullivan argues that the Philadelphia area was a genuine hub of avant-garde painting in the early twentieth century, even though it has earned the reputation of lagging far behind New York City in its openness to new styles of painting. It also discusses how the Darby School should be recognized as an institution that got behind the idea of women as professional artists at a time when that concept was quite radical.
The Painted Sketch is the first volume to focus on the sketches of major American artists of the period. Eleanor Jones Harvey, author and consulting curator of American Art for the Dallas Museum of Art, follows the artists from field to studio, examining the changing perception and growing public appreciation for these small works. Her study is based on much new research as well as on her close analysis of existing resources.
Celebrates 100 years of history, people and design in Landscape Architecture and Regional Planning at the School of Design of the University of Pennsylvania.
"This magnificent new book . . . has assembled a definitive collection of impressionistic works from the Bucks Country region of eastern Pennsylvania. . . . Excellent!"—Bloomsbury Review
Defining an artistic era or movement is often a difficult task, as one tries to group individualistic expressions and artwork under one broad brush. Such is the case with impressionism, which culls together the art of a multitude of painters in the mid-19th century, including Monet, Cézanne, Renoir, Degas, and van Gogh. Basically, impressionism involved the shedding of traditional painting methods. The subjects of art were taken from everyday life, as opposed to the pages of mythology and history. In addition, each artist painted to express feelings of the moment instead of hewing to time-honoured standards. This description of impressionism, obviously, is quite broad and can apply to a wide array of styles. Nonetheless, it remains a very important school in the annals of art. Any current or budding art aficionado should become familiar with the impressionist movement and its impact on the art world. This book presents a sweeping study of this artistic period, from its origins to its manifestations in the works of some of art history's most revered painters. Following this overview is a substantial and selective bibliography, featuring access through author, title, and subject indexes.