Hudson River school


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Hudson River school,

group of American landscape painters, working from 1825 to 1875. The 19th-century romantic movements of England, Germany, and France were introduced to the United States by such writers as Washington Irving and James Fenimore Cooper. At the same time, American painters were studying in Rome, absorbing much of the romantic aesthetic of the European painters. Adapting the European ideas about nature to a growing pride in the beauty of their homeland, for the first time a number of American artists began to devote themselves to landscape painting instead of portraiture. They were particularly attracted by the grandeur of Niagara Falls and the scenic beauty of the Hudson River valley, the Catskills, and the White Mts. The works of these artists reflected a new concept of wilderness—one in which man was an insignificant intrusion in a landscape more beautiful than fearsome. First of the group of artists properly classified with the Hudson River school was Thomas Doughty; his tranquil works greatly influenced later artists of the school. Albert Bierstadt glorified the Rocky Mts. in the West, working in the same manner as the painters in the East. Thomas Cole, whose dramatic and colorful landscapes are among the most impressive of the school, may be said to have been its leader during the group's most active years. Among the other important painters of the school are Asher B. Durand, J. F. Kensett, S. F. B. Morse, Henry Inman, Jasper Cropsey, Frederick E. Church, and, in his earlier work, George Inness. See articles on individual painters.

Bibliography

See B. Novak, American Painting in the Nineteenth Century (1969); J. K. Howat, The Hudson River and Its Painters (1972); E. C. Parry 3d, The Art of Thomas Cole (1988); D. Schuyler, Sanctified Landscape: Writers, Artists, and the Hudson River Valley, 1820–1909 (2012).

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References in periodicals archive ?
"Unlike the 19th-century Hudson River School artists, Obata was less interested in overwhelming the viewer than in fostering a one-on-one communion with nature," says Timothy Anglin Burgard, curator in charge of American art at the de Young Museum in San Francisco.
Many of us are familiar with the muted colors, nearly invisible brushstrokes, and sprawling landscapes of the Catskills and Adirondacks by Hudson River School artists.
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The name Hudson River School is a bit of a misnomer.
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Noteworthy among them is the oil painting by the Hudson River School artist Frederic Church.
At first glance, Kim Keever's images look like something out of the Hudson River School, that period in American art when painters created landscapes as pristine as Eden.
Marshall reports in her communication with me that "he allowed her to copy two of his own works, and she proceeded to copy, as well, a landscape attributed to Salvator Rosa." This is the painting "which Sophia exhibited in the 1834 Athenaeum Exhibition." While Allston is often alluded to as a precursor of the Hudson River School, and Valenti refers to his landscapes as having "brought the English romantic influence to the Hudson River school," (p.
The National Academy Museum and School of Fine Arts, a 184-year-old repository of American art, confronted its fiscal crisis by selling two major Hudson River school landscapes to pay its bills, acting only one step ahead of legislation by the New York legislature that would make such sales illegal.
Another gift was a painting titled "Indians in a Mountain Landscape," by the American artist Thomas Cole, a founder of the Hudson River School of landscape painting.
DURAND (1796-1886) was a leading member of the New York art world who, with Thomas Cole, is credited with founding the U.S.'s first national school of art, the Hudson River School. This mid-19th-century art movement was responsible for idyllic depictions of both bits of nature and grand landscape views, making Durand's name synonymous with the development of American landscape painting.

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