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THOMAS COLE and The American Landscape 1801-1847

THOMAS COLE and The American Landscape 1801-1847. PORTRAIT OF THOMAS COLE ASHER B. DURAND-1838-30 ½ X 25”. LANDSCAPE- 1825- 24 X 32”. LOCALES OF THE HUDSON RIVER SCHOOL. DANIEL BOONE SITTING AT THE DOOR OF HIS CABIN ON THE GREAT OSAGE LAKE, KENTUCKY-1826- 38 X 42”. ROMANTICISM.

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THOMAS COLE and The American Landscape 1801-1847

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  1. THOMASCOLE andThe American Landscape1801-1847

  2. PORTRAIT OF THOMAS COLEASHER B. DURAND-1838-30 ½ X 25”

  3. LANDSCAPE- 1825- 24 X 32”

  4. LOCALES OF THE HUDSON RIVER SCHOOL

  5. DANIEL BOONE SITTING AT THE DOOR OF HIS CABIN ON THE GREAT OSAGE LAKE, KENTUCKY-1826- 38 X 42”

  6. ROMANTICISM • Among the characteristic attitudes of Romanticism were the following: a deepened appreciation of the beauties of nature; a general exaltation of emotion over reason and of the senses over intellect; a turning in upon the self and a heightened examination of human personality and its moods and mental potentialities; a preoccupation with the genius, the hero, and the exceptional figure in general, and a focus on his passions and inner struggles; a new view of the artist as a supremely individual creator, whose creative spirit is more important than strict adherence to formal rules and traditional procedures; an emphasis upon imagination as a gateway to transcendent experience and spiritual truth; an obsessive interest in folk culture, national and ethnic cultural origins, and the medieval era; and a predilection for the exotic, the remote, the mysterious, the weird, the occult, the monstrous, the diseased, and even the satanic.

  7. SUNNY MORNING ON THE HUDSON RIVER- 1827- 19 X 25”

  8. ROMANTICISM • The term designates a literary and philosophical theory that tends to see the individual at the center of all life, and it places the individual, therefore, at the center of art, making literature valuable as an expression of unique feelings and particular attitudes (the expressive theory of criticism) and valuing its fidelity in portraying experiences, however fragmentary and incomplete, more than it values adherence to completeness, unity, or the demands of genre. Although romanticism tends at times to regard nature as alien, it more often sees in nature a revelation of Truth, the "living garment of God," and a more suitable subject for art than those aspects of the world sullied by artifice. Romanticism seeks to find the Absolute, the Ideal, by transcending the actual, whereas realism finds its values in the actual and naturalism in the scientific laws the undergird the actual. 

  9. PICTURESQUE • CHARACTERISTICS OF THE PICTURESQUE LANDSCAPE • ORGANIC forms and SYMBOLISM OF NATURE were employed in the naturalistic but completely contrived environments. • Landscapes could be appreciated statically, like scenes in a painting, employing the same artistic rules of composition, in the quest for AESTHETIC HARMONY. • They could also be enjoyed cinematically, moving through a SEQUENCE OF SPACES. • The landscapes were punctuated by structures that included classical and Gothic architecture. • Compositions were further enhanced by ICONOGRAPHY, both humanistic and political, that was variously expressed through a blend od statuary, grottoes, temples, and genuine faux ruins. • Poussin, Lorrain, Turner (digndream.files.wordpress.com/2011/11/10picturesque1.pdf)

  10. CHIAROSCURO • Chiaroscuro (English pronunciation: /kiˌɑːrəˈskjʊəroʊ/; Italian: [kjarosˈkuːro]; Italian for light-dark) in art is the use of strong contrasts between light and dark, usually bold contrasts affecting a whole composition. Chiaroscuro is also a technical term used by artists and art historians for using contrasts of light to achieve a sense of volume in modelling three-dimensional objects such as the human body.[1] Similar effects in the lighting of cinema and photography are also often called chiaroscuro. (From Wikipedia, the free encyclopedia) • Rembrandt, Caravaggio, El Greco

  11. SUNRISE IN THE CATSKILL MOUNTAINS- 1826- 26 x 36”

  12. LANDSCAPE WITH FIGURES: A SCENE FROM “THE LAST OF THE MOHICANS”- 1826- 26 X 43”

  13. LANDSCAPE WITH DEAD TREE-1826- 27 X 33”

  14. SAINT JOHN IN THE WILDERNESS (AND DETAIL)- 1827- 36 X 29”

  15. THE GARDEN OF EDEN- 1828- 39 X 45”

  16. EXPULSION FROM THE GARDEN OF EDEN-1828- 39 X 54”

  17. NIAGRARA FALLS- 1830- 19 X 24”

  18. William Cullen Bryant-1830

  19. A WILD SCENE- 1831- 51 X 76”

  20. AQUEDUCT NEAR ROME- 1832- 45 X 68”

  21. INTERIOR OF THE COLOSSEUM,ROME- 1832- 10 X 18”

  22. VIEW OF FLORENCE FROM SAN MINIATO- 1837- 39 X 63”

  23. THE COURSE OF EMPIRE: THE SAVAGE STATE-1836- 39” X 63”

  24. THE COURSE OF EMPIRE: THE ARCADIAN OR PASTORAL STATE- 1836- 39 X 63”

  25. THE COURSE OF EMPIRE: THE CONSUMMATION OF EMPIRE- 1835- 51 X 76”

  26. THE COURSE OF EMPIRE: THE CONSUMMATION OF EMPIRE- 1836 DETAIL “wholly within the bounds of time, with no living, actual relation, any more than the the Iliad, to a life hereafter- to the world of Christian revelation…” ( Noble, 168)

  27. THE COURSE OF EMPIRE-DESTRUCTION- 1836- 39 X 63”

  28. THJE COURSE OF EMPIRE: DESOLATION- 1836- 39 X 63”

  29. THE OXBOW- 1836- 52 X 76”

  30. SCHROON MOUNTAIN-1838- 39 X 63”

  31. THE DEPARTURE- 1838- 40 X 63”

  32. THE RETURN- 1838- 40 X 63”

  33. THE PAST AND THE PRESENT 1838 40 X 61”

  34. DREAM OF ARCADIA- 1838- 39 X 63”

  35. THE NOTCH OF THE WHITE MOUNTAINS- 1839- 60 X 62”

  36. PORTAGE FALLS ON THE GENESSEE 1839 84 X 60”

  37. THE VOYAGE OF LIFE:CHILDHOOD- 1839-40- 52 X 78”

  38. THE VOYAGE OF LIFE: YOUTH- 1840- 52 X 78”

  39. THE VOYAGE OF LIFE- 1840- 52 X 78”

  40. THE VOYAGE OF LIFE-OLD AGE- 1840- 52 X 78”

  41. VALLEY OF THE VAUCLUSE 1841 69 X 49”

  42. MOUNT ETNA- 1842- 32 X 48”

  43. EVENING IN ARCADY- 1843- 32 X 48”

  44. THE TEMPLE OF SEGESTA WITH THRE ARTIST SKETCHING- 1843- 19 X 30”

  45. CATSKILLS MOPUNTAIN HOME- 1843- 29 X 36”

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