Romanticism in the Hudson River School of Painting
This group was formed by American landscape painters who were present from 1825 to 1880. Their work constituted of interest in realistic illustration of nature and a fascination to celebrate precisely the American scenery. Until its emergence, most artists seemed more interested in making portraits than painting murals. Those who did landscapes generally always turned to Europe for guidance on subject matter and skills. Subjects similar to the other side of the Atlantic appear on their canvases mostly compared to American scenes, such as Norman castles, Greek and Roman ruins. In addition, much of the paintings done prior to the emanation of the Hudson River Schoolwereemblematic and therefore not necessarily intended to emblematize a real place. The school combines elements of romanticism and the art of Nationalism. Its Romantic nature provides an alternative framework through which to ...view middle of the document...
And if you look keenly in the picture you will see two tiny human figures standing on a rock in the foreground.
Jasper Cropsey's "Starrucca Viaduct”, on the right, is a view of a bridge and Railroad. It convincingly demonstrates how railroads might safely overcome natural obstacles, like mountainsides and rivers. This vast human structure seems predominated by the hinterland it cuts through. With the blue threatening skies and a subliming mountain and a quiet body of water and beautifully colored foliage occupy the foreground. From a quick glance of the picture it is easy to omit its illusory subject, the railroad bridge. Notice also the analogous movement from east to west on maps, railroad is moving from the right side of the painting to the left.
Nature pre-dominates George Inness painting, with a transcendent background and a more pastoral foreground. The distant mountains seem to be shrouded in a smoky haze, not forgetting the remnants of wild nature in between. It brings a human touch on the landscape.
This impressive waterfall creates a sublime expression. Painted by Fredrick Edwin Church, it gives a deafening sound of the crashing water and the dark storm clouds on the horizon are easily noticed. Church combines several instances of the dynamite, denticulate mountains and murky clouds in the background and the waterfall in the center.Note also the Church's beautiful use of light. Cows are grazing in a field, providing a notion of the pastoral. Overgrown tropical leafageinterspersed by a single grave site occupies a greater part of the foreground.
This painting by Thomas Cole depicts light blue sky, the morning light, and the wispy clouds suggest a calm and peacefulness. This is not thethreatening, forbiddingwilderness of the chauvinists. Instead, it is a delightful place of quiet deliberation. It is composed of a meandering river with some vegetation on its banks, all in the background. The mountains and the broken trees depict the sublime nature. They are created focusing on the power of the painting.
Groft, T. K., McCombs, W. D., Greene-McNally, R., & Stilgoe, J. R. (2009). Hudson River panorama: A passage through time. Albany, N.Y.: Excelsior Editions/State University of New York Press.