2 cm), Smithsonian American Art Museum, Gift of Eleanor Blodgett, 1911.4. Here, for example, Frederic Church depicts Cotopaxi, an active volcano in Ecuador. Frederic Edwin Church, Aurora Borealis, 1865, oil on canvas, 56 x 83 1 2 in. The work reveals the artist’s continued fascination with the panoramic possibilities of the falls and his ongoing search for novel ways to depict the iconic national landmark. The artists of the Hudson River School ventured far beyond the New York region suggested in the name that was applied to them. Niagara is a highly finished study, executed with great control and detail, including smaller elements such as the wood bridge that leads to the Terrapin Tower. ![]() ![]() Church uses a palette of light blue, sea foam green, white, and brown with swiftly executed masterful brushstrokes. The rock formations, engulfed in mist, are striking, as is the flow of water cascading over the edge of the falls. Frederic Edwin Church traveled to northern Maine soon after the publication of Henry David Thoreau’s essay 'Ktaadn and the Maine Woods.' In this canvas, Church brings the landscape that Thoreau called 'exceedingly wild and desolate' subtly under control by imagining its civilized future. 2000 In Search of the Promised Land: Paintings by Frederic Edwin Church, Berry-Hill Galleries, New York Terra Museum of American Art, Chicago Portland Art Museum, Oregon Portland Museum of Art, Maine, 2000-2001, pl. Frederic Edwin Church, (born May 4, 1826, Hartford, Connecticut, U.S.died April 7, 1900, near New York, New York), American Romantic landscape painter who was one of the most prominent members of the Hudson River school. On view, 2nd floor, American Art before 1900. In his sweeping panorama, the artist, and by extension the viewer, is positioned in the water, looking up at Horseshoe Falls and the Terrapin Tower, built in 1833 on the brink of the falls. Frederic Edwin Church, National Gallery of Art, Washington, D.C., 1989-1990, no. Church painted this exquisite on-site oil study of the Horseshoe Falls section of Niagara Falls, from the Canadian side, most likely during his trip in August, 1858. ![]() Having been introduced to the on-sight oil sketch by his teacher Thomas Cole, he would practice it throughout his lifetime, commenting to Cole, "of all employments, I think it most delightful." Church’s close observations of nature, seen in Niagara, represent a challenge to earlier models of landscape art that insisted on symbolic unity, and instead offers a discourse with current scientific knowledge. His majestic views of nature, inspired by his travels in North and South America, captivated audiences and critics alike. The nineteenth century was the great age of the plein-air oil sketch and American artist Frederic Church was among the most accomplished and prolific exponents of the medium. Frederic Edwin Church was one of the most celebrated American landscape painters of the 19th century.
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