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Landscape Art and Romantic Nationalism in Germany and America

Landscape Art and Romantic Nationalism in Germany and America.

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Landscape Art and Romantic Nationalism in Germany and America

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  1. Landscape Art and Romantic Nationalism in Germany and America

  2. (left) Philipp Otto Runge (German 1777-1810), Fingal with Raised Spear, 1804, pen drawing 15 ½ X 9 ½ inches(right) William Blake (English, 1757-1827) Albion Rose, ca. 1794-5, color print with pen and watercolor over line engraving, 10 5/8 X 7 7/8 inches. “ The synchronicity of solar and superhuman heroic power [and] the hieratic conjunction of figure and landscape…” (Lukacher)

  3. Philipp Otto Runge (German, 1777-1810), Daybreak, 1805, engraving from the series, Tageszeiten (Times of Day)

  4. Philipp Otto Runge, Morning, 1808, oil on canvas, 43 x 34 in“It wants to embrace everything, and so loses itself in the elemental…if you stand on the brink of the abyss, you must either die or go mad; there is no grace.” (Goethe)

  5. Franz Pforr (German, 1788-1812), Count Rudolph of Hapsburg and the Priest, 1809-10, oil on canvas, 18 x 21 in. Faux naïve style. Narrative based on a historical ballad by Friedrich Schiller. “The unerring wisdom of the nobility in the Middle Ages and the Sub-servience of worldy power to the spirittual mission of the Catholic church.” (Lukacher, 150)

  6. Friedrich Overbeck, Portrait of Franz Pforr, 1810, oil on canvas, 24 x 18 inLukasbund, the Brethren of St. Luke, named for the medieval patron saint of artists’ guild.Skull surmounted by a cross at the base of the window frame is the emblem of the Lukasbund.

  7. Friedrich Overbeck (1789-1869), Portrait of Franz Pforr, 1810Albrecht Durer (1471-1528), Portrait of Oswolt Krel, 1499 What does the cross on the skull signify?

  8. Caspar David Friedrich (German 1774-1840), Monk by the Sea, 1809-10, oil on canvas, 43x68 in. How does this work seize on “the tragedy of landscape”?

  9. Caspar David Friedrich, detail of Monk by the Sea, 1809-10, oil on canvas, 43x68 in. “Art stands as the mediator between nature and humanity. The original is too great and too sublime for the multitude to grasp.” (CDF)

  10. Caspar David Friedrich, Abbey in the Oak Forest, 1809-10, oil on canvas, 39 x 67 in

  11. Caspar David Friedrich, Large Enclosure near Dresden, 1832, oil, 29x40 in. Does the swamp in the foreground look like the earth with continents and masses – a “Weltlandschaft (world landscape)?

  12. Caspar David Friedrich, Hill and Ploughed Field near Dresden, 1824-8, oil on canvas, 9 x 12 in. Dresden in the distance as a “celestial city”?

  13. Benjamin West (American, 1738-1820), about 1763. National Gallery of ArtPresident of the Royal Academy in London from 1792 until his death, he received many commissions from George III and other English patrons, and directly influenced three generations of American artists in London.

  14. Benjamin West, The Death of General Wolfe, 1771, oil on canvas, National Gallery of Canada, Ottowa

  15. John Vanderlyn, Marius Amidst the Ruins of Carthage, 1807, oil on canvas, 87x68 in

  16. Thomas Cole, View of the Round-Top in the Catskill Mountains, 1827, oil on canvas, 19 x 25 in

  17. Thomas Cole, The Course of Empire: The Savage State, 1836, 63 x 39 in, The New York Historical Society

  18. Thomas Cole, The Course of Empire: The Arcadian or Pastoral State, 1836, 63 x 39 in, The New York Historical Society

  19. Thomas Cole, The Course of Empire: The Consumation, 1836, 63 x 39 in, The New York Historical Society

  20. Thomas Cole, The Course of Empire: Destruction, 1836, 63 x 39 in, The New York Historical Society

  21. Thomas Cole, The Course of Empire: Desolation, 1836, 63 x 39 in, The New York Historical Society

  22. Asher B. Durand, Landscape, Progress, 1853, oil on canvas, 48x72in. Celebration of Manifest Destiny

  23. George Inness, The Lackawanna Valley, 1857, oil on canvas, 34x50 in. An “endless morning”

  24. Fitz Hugh Lane, Brace’s Rock, Brace’s Cove, 1864, oil on canvas, 10x15

  25. John Frederick Kensett, Lake George, 1869, oil on canvas, 44 x 66 in

  26. Frederick Edwin Church, Twilight in the Wilderness, 1860, oil, 40 x 64 in. “Subverts the national mythology and religious promise of the wilderness esthetic that was its raison d’etre.” (Lukacher, 161)

  27. Frederick Edwin Church, Cotopaxi, 1862, oil on canvas, 40 x 64in. “Both prelapsarian and eschatological” The American Civil War (1861-5) is the context.

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