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(lo͞o`mĭnĭz'əm), American art movement of the 19th cent. Luminism was an outgrowth of the Hudson River schoolHudson 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.
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. In its concern for capturing the effects of light and atmosphere it is sometimes linked to impressionismimpressionism,
in painting, late-19th-century French school that was generally characterized by the attempt to depict transitory visual impressions, often painted directly from nature, and by the use of pure, broken color to achieve brilliance and luminosity.
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. Its practitioners included Frederick E. ChurchChurch, Frederick Edwin,
1826–1900, American landscape painter of the Hudson River school, b. Hartford, Conn., studied with Thomas Cole at Catskill, N.Y. He traveled and painted in North and South America and in Europe and excelled in panoramic scenes.
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 (in his early career), Fitz Hugh LaneLane, Fitz Hugh,
1804–65, American painter and printmaker, b. Gloucester, Mass. A painter of ships and coastal panoramas, Lane is most notable as a leading figure in American luminism. He illuminated his canvases with warm, glowing yellow and pink skies reflected in water.
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, John F. KensettKensett, John Frederick
, 1816–72, American landscape painter, of the Hudson River school, b. Cheshire, Conn. He began painting while working as an engraver and in 1840 went to England to study.
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, Sanford R. GiffordGifford, Sanford Robinson,
1823–80, American painter, b. Greenfield, N.Y. A major painter of the American movement known as luminism, Gifford, who was influenced by Thomas Cole early in his career, was celebrated for his atmospheric landscapes. He grew up in Hudson, N.Y.
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, and Martin Johnson HeadeHeade, Martin Johnson
, 1819–1904, American painter, b. Lumberville, Pa. He studied briefly with Edward Hicks and in Europe, and later traveled in Central and South America.
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. They painted majestic landscapes and seascapes bathed in the mystical light of a pristine sky with an emphasis on Nature's grand scale.


See B. Novak, Nature and Culture: American Landscape and Painting, 1825–1875 (1980).

References in periodicals archive ?
NOTE: Takemoto's Luminist decorating process was featured in Beauty Packaging's December 2017 issue in the feature, Decorating Decisions, but the photo was incorrectly identified as TIGI Cosmetics' line.
Doty casts the edgeless light of the luminist to discover in ambiguity comfort and reconciliation.
Specifically, Steiner's film focuses on reflections of light on water, a subject common in Luminist painting, though in one obvious sense [H.
Our l9th-century landscape painters were chasing after a world that had already been lost; after all, their contemporary world was disrupted by the Industrial Revolution, which does not appear in the luminist paintings at all.
For the Hudson River School and the Luminists alike, light was the symbol of the divine, although Gifford's interest was more technical than worshipful.
The first effort--a modest four-page, full-color presentation of the 19th-century school of landscapes called the luminist movement--appeared in 1980 and set the stage two months later for the first (of many) museum cover stories, featuring the largest exhibition of modem art by Pablo Picasso ever shown.
The works thus channel the tendencies of luminist painting and Op art, putting them in the service of one another.
A leader of the second generation of Hudson River School artists, Luminist Sanford R.
Cooper (December 1987); "Fitz Hugh Lane: Transcendental Luminist," by Jason Edward Kaufman (November 1988); "Sublime Psalms of Light," on Frederic Edwin Church, by Jason Edward Kaufman (February 1990); "Thomas Cole's Vision" by Susan Fegley Osmond (November 1994); and "Thomas Moran's America" by Steve Goode (December 1997).
And although his images can read as the creations of a political environmentalist akin to Robert Adams, Burtynsky nonetheless maintains an interest in art-historical sources, including Earthworks, early landscape photography, luminist painting, and even the intensely colored photographs of unpeopled forests that grace the publications of the environmentalist Sierra Club.
This Luminist masterpiece evokes reveries of a bygone day.
Lane, Martin Johnson Heade, and John Frederick Kensett offer classic examples of quietistic luminist light and structure that differ considerably from British Romantic practice.