In the era where Thomas Cole first established the Hudson River School, other artist that is not from the United State such as John Constable, has the same taste in nature and outdoors. John Constable who is from England, created many painting from the surrounding area from his backyard to the countryside. For Cole’s painting, his work of art has been throughout the Hudson River, therefore, his painting consist of vast amount of forest, river, and mountains. He also travels in many locations in America and even done some painting in Europe. Both painter love nature, for this example, landscape will be the primary focus.
In Thomas Cole painting, The Clove, Catskills, the landscape is located in New York, where he got the chance to paint during
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the autumn season when the leaves changes colors. The warm colors of the autumn’s leaves and the deep greens of the forest capture the realism of the season. The deep green and purple brings out the warms hue of red, orange, and yellow. The terrain of the mountains creates a strong diagonal X, which draws the viewer’s eyes to the center of the painting. Cole’s also shows a strong sense of space and distance by his use of atmospheric perspective between the high contrast mountain in front and the bright orange one in the distance. The most render part of the painting that has the most attention would be the foreground, which it consists of triangular rock formation and a broken tree. As you may not notice, most of his painting Cole would use was dead or broken tree to frame the edge of his painting. The lease unnoticeable subject in the painting is a small figure that is standing on the rock. The figure is in the front of the forest but he is hidden in the shadow. According to Thomas Cole, the figure was a Native American looking out east; he is on an exploration through the wilderness. In the distance he notice there is a storm that is slowly engulfing to the right side of the landscape. Another effects that Cole also has in most of his painting are the upcoming of a stormy weather. He uses his dark cloud method to bring up the drama and the feeling of looking at the sublime scene. The feeling of the sky should have brought emotion of fear, exaltation, and danger. Another interesting landscape painting from John Cole would be, The Oxbow.
This painting is one of the most well know because the painting show the division of the untouched wilderness to the left, and the cultivated land that is treeless and is covered by field of crops. The diagonal division creates a strong composition which is the first place where the eyes drawn to. The left side of the painting contains the most luscious greenery, which untouched nature should have consist, and the right has more of a yellowish dried and flat landscape where humans contaminated the area. The foreground has a large broken or dead tree that frames the painting so the eyes do not wonder off. The dead trees also represent the untouched land, and rainstorm approaches on left side of the sky dramatizing it. The large river that divided the land has a shape of a loop, which indicated the bow of wooded collar of the yoked ox. Just like that painting from The Clove, Cole small figure in his painting would represent the size of the landscape. The composition gives the figure a feeling of isolation in the wilderness. In The Oxbow, the small figure is John Cole himself, small and very hidden in the bushes, being present in the untamed side of …show more content…
nature. Some elements that Cole incorporates in his landscape paintings that are not in the two examples are ruins. In some of Cole paintings, Mother Nature is consuming the structure or the area that was once touched by society. A good example would be his series of painting called The Course of Empire, and that series consist of five painting that were untouched, then the tamed, and lastly destruction of land by the forces of nature. In some of his painting, Cole also includes some historical architectural site when he visited Italy, Rome, and Florence. John Constable is an English painter, who lives in the countryside, which is mostly what he painted.
His painting style for landscape is similar to Thomas Cole. They have similarity in tone and texture, but Constable colors are not as vibrant as Cole. In Constable painting, The Hay Wein, the landscape of the countryside looks very peaceful and not much of any loud noise or association that is disturbing this peaceful area. The most focus area in this painting should be the cottage, and the horse with the wagon that is in the foreground, but the bright blue sky with white clouds and the yellow sunlight in the distance distract the eye from looking at the foreground. The way he painted his clouds shows he had been studying them since the clouds have different layer of shades and shapes. The dark clouds cast a heavy dark shadow in the foreground, which it felt like it is hiding the subject matter. The figure standing next to the wagon wore a white shirt, which brings the eyes back to the center of the painting, but it is somewhat noticeable. The painting was supposed to be a past memory of Constable young life when he would roam around the meadow and meet his neighbors. The person who lives in that cottage belongs to a farmer named Willy Loff, who is identified to be the figure on the wagon. To this day, the cottage and the road still stand, and any tourist can still get the chance to see the location, and possible visit the home Constable was raised
in. The Wavenhoe Park was another painting that was Constable highlight piece and it took place in the countryside where he spent his childhood in. It shows the farm life in Suffolk, England where therea tame domestic farm animal, and human spending another day of their life. Again, the artist shows great knowledge of painting clouds; you can simple classify them because of how clearly the description of the cloud were done. The meadow has slopes that bring depth and dimension to the land. What makes the lake more clear is the reflective light from the sky as well as the shadow that is been cast down by the tree. Constable color palette mainly has warm green for the bottom portion of his painting, and blue for the sky. Many of his painting consist of an earth tone palette where it shows his love for nature. Overall, Thomas Cole and John Constable are two similar landscape painters; one may like the raw nature of life and the other may leans toward painting rural area where his childhood memories was the most valuable. The environment was the most important content to them, and they skillfully capture all the element of trees, mountain, sky, and weather, therefore, they became the most well-known landscape artist at their time.
Claude-Joseph Vernet’s oil on canvas painting titled Mountain Landscape with an Approaching Storm was created in 1775, and it is currently located in the European Art Galleries (18th- 19th Century North) 2nd Floor at the Dallas Museum of Art. It is a large-scale painting with overall dimensions of 64 1/2 x 103 1/4 in. (1 m 63.83 cm x 2 m 62.26 cm) and frame dimensions of 76 1/8 x 115 1/4 x 4 3/4 in. (1 m 93.36 cm x 2 m 92.74 cm x 12.07 cm). Vernet creates this piece by painting elements from nature and using organic shapes in order to create atmospheric effects, weather and different moods. This piece primarily depicts a landscape with a rocky mountainous terrain and villagers scrambling to an upcoming storm.
This essay will also compare the work of Thomas Moran, another Hudson River School artist working with the same subject matter, and will attempt to clarify the artist’s similarities and differences in regard to both technique and contributions. The work of Winslow Homer, a contemporary of Church, will be briefly discussed in relation to the impact the Civil War had on subject matter in relationship to nati...
At the left-bottom corner of the painting, the viewer is presented with a rugged-orangish cliff and on top of it, two parallel dark green trees extending towards the sky. This section of the painting is mostly shadowed in darkness since the cliff is high, and the light is emanating from the background. A waterfall, seen originating from the far distant mountains, makes its way down into a patch of lime-green pasture, then fuses into a white lake, and finally becomes anew, a chaotic waterfall(rocks interfere its smooth passage), separating the latter cliff with a more distant cliff in the center. At the immediate bottom-center of the foreground appears a flat land which runs from the center and slowly ascends into a cliff as it travels to the right. Green bushes, rough orange rocks, and pine trees are scattered throughout this piece of land. Since this section of the painting is at a lower level as opposed to the left cliff, the light is more evidently being exposed around the edges of the land, rocks, and trees. Although the atmosphere of the landscape is a chilly one, highlights of a warm light make this scene seem to take place around the time of spring.
In terms of colours, the white colour dominates in this painting. It signifies purity, freedom and change. In the past the rulers have dominated over the people but now the prevailing power is in the hands of the peasants. The large green leaves, echoing the horse`s mane in the painting symbolise the revival of the human mind and notify of the arriving change in people`s lives.
Joseph Mallord William Turner, 1775-1851, born the son of a London Barber and Wigmaker, is considered one of the greatest European artists of the 19th century. Turner, the English romantic landscape painter, watercolourists and printmaker, was regarded as a controversial and revolutionary figure by his contemporaries despite his training being similar to other artists of the time. His work ‘Walton Bridge’, Oil on Canvas 1806-10, reflects much of his training as a young artists as well as his well-known Romantic style. In this essay I will follow the beginnings of Turners artistic life, showing how his influences, training and opinions surrounding landscape painting have influenced his work ‘Walton Bridge.’ I will further explore how art critics, fellow artists and the wider public of the 19th Century received ‘Walton Bridge’ and his Landscape paintings in general.
This group was formed by American landscape painters who were present from 1825 to 1880. Their work constituted of interest in realistic illustration of nature and a fascination to celebrate precisely the American scenery. Until its emergence, most artists seemed more interested in making portraits than painting murals. Those who did landscapes generally always turned to Europe for guidance on subject matter and skills. Subjects similar to the other side of the Atlantic appear on their canvases mostly compared to American scenes, such as Norman castles, Greek and Roman ruins. In addition, much of the paintings done prior to the emanation of the Hudson River Schoolwereemblematic and therefore not necessarily intended to emblematize a real place. The school combines elements of romanticism and the art of Nationalism. Its Romantic nature provides an alternative framework through which to view and appreciate the nature in the world.
“The St. Johns River Entering the Atlantic Ocean” painted by Hermann Herzog stands in American Art as the most ascetically illustrative picture inspired in the Florida coastline. Although, this German American artist settled in Pennsylvania, he painted primarily landscapes inspired in the areas he visited. He traveled and painted throughout Florida, Maine, California and the Northeast side of the country coast.
The artwork starts outside the barn. The left bottom of the painting holds a brown and white pig walking towards the barn in front of the resting dog lying just inside the barn’s open double doors. The pig’s ears are brown while its engorged nipples suggest it had piglets. As the pig strolls in front of the barn it encounters the remains of animal bones while patches of green grass and dirt highlight the way to the barn. On the opposite side of the pig, stands a reddish brown horse. The horse 's mane and tail are black. Its hind legs are white. The tip of the horse’s nose is white. The horse wears a saddle, bridle, halter, bit and reins. Its left hind leg rises as if ready to bolt. In the bottom right hand corner below the horse reads, “G.H. Durrie 1853.” While the area in front of the barn appears sparse, it is the barn and what occurs inside that is where the action
This work shows impeccably drawn beech and basswood trees. It was painted for a New York collector by the name of Abraham M. Cozzens who was then a member of the executive committee of the American Art-Union. The painting shows a new trend in the work of the Hudson River School. It depicts a scene showing a tranquil mood. Durand was influenced by the work of the English landscape painter John Constable, whose vertical formats and truth to nature he absorbed while visiting England in 1840.
One day Cole set out to observe nature and it’s wilderness. He began painting pictures by first making oil sketches of American rocks, trees, sunsets, plants, animals, as well as distant Indians. From these sketches he formed several paintings. Most famous for his allegorical collection called the “The Course of Empire” and is well-known for his Landscape paintings, “The Oxbow,” “The Woodchopper,” and “The Clove, Catskills.”
Thomas would be in the category of romantic art for the theme of his artwork. He has based it on the beauty of nature and the fact that most of his major works were done in the period that romanticism took place, most of the 19th century and the beginning of the 20th century. Thomas Moran had attended the Hudson Valley River School, where many landscape artists had attended, too. He painted the Hudson Valley with the attraction, beauty, and scenery of the valley.(www.ency). He also was attracted to the awesomely romantic images of American wilderness and the open west, where he did most of his paintings. (www.art) Thomas was fascinated with Yellowstone and wanting to be associated with it painted the wilderness and scenery of it. (Vol.15) With the paintings he had done of Yellowstone Congress was fascinated with them, that they bought The Chasm and The Grand Canon of the Yellowstone Thomas had painted.
The representation of the new age of exploration, which serves as an allusion to man’s potential, is starkly contrasted with the depiction of Icarus that serves as an allegory for man’s limits, indicating the shift from a euro-centric universe. This painting is an oil canvas landscape of the sun setting on the horizon of the ocean sea, while the ships were sailing through the body of water. The focus on humanism during this period is clearly portrayed by the presence of the plowman, shepherd, and fisherman performing their daily task. Lighter colors are used, which differ from the darker colors that were emphasized during the Dark Age or Medieval period. Shadows can be seen on the ground next to the plowman, showing the increasing artistic methods that begin to be utilized.
The second painting was by George W. Bellows and named Shoghead. This painting brought a sense of ease and relaxation. I can picture myself on the top of the mountain listening to the waves crash on the sides. The open countryside topped by the clouds give the painting a sense of realism. The extremely bright blue water stands out the most, though the focal point is not clear. There is not an excessive use of paint. It is as if Bellows caked it on his brush and made quick short strokes. The use of such dark colors on the hill is a mystery. The terrain has a roughness that makes the painting come to life. The artist did a great job of showing the depth. If I had to guess, he was influenced by Picasso’s work because of the extensive use of thick point.
own painting. He sees some figures, along with a castle and somewhat of a landscape. The artist
This painting by Vincent Van Gogh is on display at the Art Institute of Chicago Museum, in the Impressionism exhibit. There are many things going on in this painting that catch the viewer’s eye. The first is the piece’s vibrant colors, light blues and browns, bright greens, and more. The brush strokes that are very visible and can easily be identified as very thick some might even say bold. The furniture, the objects, and the setting are easy to identify and are proportioned to each other. There is so much to see in this piece to attempt to explain in only a few simple sentences.