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| '''''Mountain Landscape''''' is an 1849 |
'''''Mountain Landscape''''', previously known as ''Sunset—West Rock, New Haven'', is an 1849 landscape painting by American artist ] of the ], completed during his early period. The work depicts a mountain landscape with a lake and a small farm in the ] based on Church's travels through the state of ]. The painting was originally part of the Nickerson art collection but was later donated to ] as part of the Sloan bequest in 1953 and exhibited at the ]. In 2023, the university proposed selling the painting as an asset to fund dormitory renovations, leading to a ] about the ethics of ] artwork. | ||
| ==Background== | |||
| ⚫ | Church was raised in ], where he remained from 1826 to 1843. He moved to ], in 1844, to study art for two years under ], the founder of the ]. Cole preferred the style of creating compositions of both representational and imaginative landscapes, where the artist creates a fusion of what is both in the natural world and in the mind on the canvas. During this time, Church made sketches in Long Island and completed a painting in Catskill (''The Catskill Creek'', 1845). He first exhibited two works, ''Twilight among the Mountains'' and ''Hudson Scenery'' at the National Academy of Design in 1845.<ref name="nga">Kelly, Franklin; Gould, Stephen Jay; Ryan, James Anthony; Rindge, Deborah (1989). . National Gallery of Art: Smithsonian Institution Press. pp. 32-43; 158-160.{{ISBN|9780894681363}}. {{OCLC|20016290}}.</ref> | ||
| ==Development== | |||
| ⚫ | Church sketched throughout southern Vermont in 1849, completing more than ten paintings that year, including ''A Mountain Tempest'', ''The Plague of Darkness'', ''West Rock, New Haven'', ''Above the Clouds at Sunrise'', ''View in Pittsford, Vermont'', ''New England Landscape (Evening after a Storm)'', ''The Harp of the Winds (A Passing Storm)'', ''Morning'', ''Sunset'', and ''Lower Falls, Rochester'', as only a small selection.<ref name="nga"/> ''Mountain Landscape'' is believed to have been created back in the studio sometime between 1849 and 1850<ref name="nga"/> based on Church's memories of his time in Vermont.<ref name="hert"/> |
||
| ==Description== | ==Description== | ||
| The scene unfolds at twilight, with a blueish-white sky tinged with purples and grays, echoed by the surrounding clouds. The amber glow of the fading light of sunset bathes the mountain in the center-right of the composition. Wild forests envelop the scene, providing a counterpoint to the orderly farmlands visible in a clearing in the middleground—a rare glimpse of human presence. Nature's untamed expanse contrasts with the geometric patterns of cultivated land. A lake in the foreground reflects the scene with serene clarity, while a lone figure in a boat drifts near the shore, adding a contemplative dimension to the composition. A waterfall punctuates the landscape near the forest's edge, further animating the tranquil scene.<ref name="dex">Dexter, Matt (1996). . Description Essays. ''The Valpo Core Reader''. Valparaiso University. 213. Retrieved October 31, 2024.</ref> | The scene unfolds at twilight, with a blueish-white sky tinged with purples and grays, echoed by the surrounding clouds. The amber glow of the fading light of sunset bathes the mountain in the center-right of the composition. Wild forests envelop the scene, providing a counterpoint to the orderly farmlands visible in a clearing in the middleground—a rare glimpse of human presence. Nature's untamed expanse contrasts with the geometric patterns of cultivated land. A lake in the foreground reflects the scene with serene clarity, while a lone figure in a boat drifts near the shore, adding a contemplative dimension to the composition. A waterfall punctuates the landscape near the forest's edge, further animating the tranquil scene.<ref name="dex">Dexter, Matt (1996). . Description Essays. ''The Valpo Core Reader''. Valparaiso University. 213. Retrieved October 31, 2024.</ref> | ||
| ⚫ | Gregg Hertzlieb, former Brauer Museum director and curator, notes that an image of the painting is difficult to fully capture with photography, particularly in the attempt to duplicate the intensity of the reflected orange and red sunset light which sparkles with ] paint. "The painting seems to exude a rosy light that reaches out to the viewer as bends forward to examine the surface", writes Hertzlieb. "The orange and rose light does appear in photographic reproduction but does not seem to have the depth, the complexity that one sees in the actual piece."<ref name="hert"/> | ||
| ⚫ | ==Provenance== | ||
| Originally owned by banker Samuel M. Nickerson (1830-1914),<ref name="siris"/> president of the ] and a prominent 19th-century art collector,<ref>"". Archives Directory for the History of Collecting in America. Art History Research Databases. ]. Retrieved October 31, 2024.</ref> the painting was part of his extensive art collection, which he donated to the ] in 1900.<ref>. (1914). ''Bulletin of the Art Institute of Chicago'' (1907-1951). 8 (2): 19.</ref> In 1950, Percy Sloan, son of the Hudson River School artist Junius R. Sloan, acquired ''Mountain Landscape'' from the Art Institute and donated it to ] as part of a larger bequest of 400 works.<ref name="hert">Hertzlieb, Gregg (Fall/Winter 2009-2010). . ''Valparaiso Poetry Review''. Valparaiso University. XI (1). Retrieved October 30, 2024.</ref> | |||
| == |
==Background== | ||
| ⚫ | Church was raised in ], where he remained from 1826 to 1843. He moved to ], in 1844, to study art for two years under ], the founder of the ]. Cole preferred the style of creating compositions of both representational and imaginative landscapes, where the artist creates a fusion of what is both in the natural world and in the mind on the canvas. During this time, Church made sketches in Long Island and completed a painting in Catskill (''The Catskill Creek'', 1845). He first exhibited two works, ''Twilight among the Mountains'' and ''Hudson Scenery'' at the National Academy of Design in 1845.<ref name="nga">Kelly, Franklin; Gould, Stephen Jay; Ryan, James Anthony; Rindge, Deborah (1989). {{Webarchive|url=https://web.archive.org/web/20240917100532/https://www.nga.gov/content/dam/ngaweb/research/publications/pdfs/frederic-edwin-church.pdf |date=2024-09-17 }}. National Gallery of Art: Smithsonian Institution Press. pp. 32-43; 158-160.{{ISBN|9780894681363}}. {{OCLC|20016290}}.</ref> | ||
| ⚫ | Gregg Hertzlieb, former Brauer Museum director and curator, notes that an image of the painting is difficult to fully capture with photography, particularly in the attempt to duplicate the intensity of the orange and |
||
| ] | |||
| ⚫ | Church sketched throughout southern Vermont in 1849, completing more than ten paintings that year, including ''A Mountain Tempest'', ''The Plague of Darkness'', ''West Rock, New Haven'', ''Above the Clouds at Sunrise'', ''View in Pittsford, Vermont'', ''New England Landscape (Evening after a Storm)'', ''The Harp of the Winds (A Passing Storm)'', ''Morning'', ''Sunset'', and ''Lower Falls, Rochester'', as only a small selection.<ref name="nga"/> ''Mountain Landscape'' is believed to have been created back in the studio sometime between 1849 and 1850<ref name="nga"/> based on Church's memories of his time in Vermont.<ref name="hert"/> It was alternately titled ''Sunset—West Rock, New Haven'',<ref name="aic">. Art Institute of Chicago. p. 7. {{OCLC|6030139}}.</ref> as it was thought to depict ], an idea which was later discounted. At least one similar, but slightly different variant from the same time and scene, ''New England Landscape'' (c. 1849), is held by the ].<ref name="el">Kelly, Franklin; Carr, Gerald L. (1987). . pp. 98-100. {{ISBN|0883600781}}. {{OCLC|1244732516}}.</ref> | ||
| ⚫ | ==Provenance== | ||
| Originally owned by banker Samuel M. Nickerson (1830–1914),<ref name="siris">. Inventories of American Painting and Sculpture, ].</ref> president of the ] and a prominent 19th-century art collector,<ref>"". Archives Directory for the History of Collecting in America. Art History Research Databases. ]. Retrieved October 31, 2024.</ref> the painting was part of his extensive art collection,<ref name="aic"/> which he donated to the ] in 1900.<ref>. (1914). ''Bulletin of the Art Institute of Chicago'' (1907-1951). 8 (2): 19.</ref> In 1950, Percy Sloan, son of the Hudson River School artist Junius R. Sloan, acquired ''Mountain Landscape'' from the Art Institute and donated it to ] as part of a larger bequest of 400 works.<ref name="hert">Hertzlieb, Gregg (Fall/Winter 2009-2010). {{Webarchive|url=https://web.archive.org/web/20240801100611/https://www.valpo.edu/vpr/hertzliebchurch.html |date=2024-08-01 }}. ''Valparaiso Poetry Review''. Valparaiso University. XI (1). Retrieved October 30, 2024.</ref> In 2023, ''Mountain Landscape'' became the subject of ]. Valparaiso University, facing financial pressures amidst declining enrollment and a deficit, announced plans to sell the painting as part of an effort to fund dormitory renovations to attract new students. This decision ignited a heated debate over the ethics of ]—a process governed by ethical museum guidelines that typically mandate reinvesting the proceeds of artwork sales back into the museum's collection. Instead, the proposed sale aimed to direct funds toward non-art-related expenditures, provoking strong opposition from faculty, students, and the wider art community.<ref>Boucher, Brian (September 4, 2024). {{Webarchive|url=https://web.archive.org/web/20240926130753/https://news.artnet.com/art-world/valparaiso-university-brauer-museum-can-sell-paintings-2531663 |date=2024-09-26 }}. '']''. Retrieved October 30, 2024.</ref> | |||
| == |
==Related work== | ||
| <gallery class="center" widths="180px" heights=120px> | |||
| {{main|Valparaiso University deaccessioning controversy}} | |||
| File:Frederick Edwin Church, New England Scenery (1851).jpg|''New England Scenery'' (1851) | |||
| In 2023, ''Mountain Landscape'' became the subject of a controversial proposal. Valparaiso University, facing financial pressures amidst declining enrollment and a deficit, announced plans to sell the painting as part of an effort to fund dormitory renovations to attract new students. This decision ignited a heated debate over the ethics of ]—a process governed by ethical museum guidelines that typically mandate reinvesting the proceeds of artwork sales back into the museum's collection. Instead, the proposed sale aimed to direct funds toward non-art-related expenditures, provoking strong opposition from faculty, students, and the wider art community. The controversy highlighted the tension between the financial reality of modern educational institutions and the ] entrusted to them, raising important questions about the preservation of artistic heritage.<ref>Boucher, Brian (September 4, 2024). . '']''. Retrieved October 30, 2024.</ref> | |||
| File:Figures in a New England Landscape Frederic Edwin Church.jpg|''Vermont Scenery'' (1852) | |||
| </gallery> | |||
| ==References== | ==References== | ||
| {{reflist}} | {{reflist}} | ||
| {{Frederic Edwin Church|state=collapsed}} |
{{Frederic Edwin Church|state=collapsed}} | ||
| ] | ] | ||
| ] | ] | ||
| ] | ] | ||
| ] | |||
Latest revision as of 04:05, 25 December 2024
Painting by Frederic Edwin Church
| Mountain Landscape | |
|---|---|
 | |
| Artist | Frederic Edwin Church  |
| Year | c. 1849 |
| Medium | oil paint, canvas |
| Dimensions | 34.6 cm (13.6 in) × 48.5 cm (19.1 in) |
| Location | Brauer Museum of Art |
| Accession No. | 53.01.107 |
| [edit on Wikidata] | |
Mountain Landscape, previously known as Sunset—West Rock, New Haven, is an 1849 landscape painting by American artist Frederic Edwin Church of the Hudson River School, completed during his early period. The work depicts a mountain landscape with a lake and a small farm in the Northeastern United States based on Church's travels through the state of Vermont. The painting was originally part of the Nickerson art collection but was later donated to Valparaiso University as part of the Sloan bequest in 1953 and exhibited at the Brauer Museum of Art. In 2023, the university proposed selling the painting as an asset to fund dormitory renovations, leading to a contentious debate about the ethics of deaccessioning artwork.
Description
The scene unfolds at twilight, with a blueish-white sky tinged with purples and grays, echoed by the surrounding clouds. The amber glow of the fading light of sunset bathes the mountain in the center-right of the composition. Wild forests envelop the scene, providing a counterpoint to the orderly farmlands visible in a clearing in the middleground—a rare glimpse of human presence. Nature's untamed expanse contrasts with the geometric patterns of cultivated land. A lake in the foreground reflects the scene with serene clarity, while a lone figure in a boat drifts near the shore, adding a contemplative dimension to the composition. A waterfall punctuates the landscape near the forest's edge, further animating the tranquil scene.
Gregg Hertzlieb, former Brauer Museum director and curator, notes that an image of the painting is difficult to fully capture with photography, particularly in the attempt to duplicate the intensity of the reflected orange and red sunset light which sparkles with scumbled paint. "The painting seems to exude a rosy light that reaches out to the viewer as bends forward to examine the surface", writes Hertzlieb. "The orange and rose light does appear in photographic reproduction but does not seem to have the depth, the complexity that one sees in the actual piece."
Background
Church was raised in Hartford, Connecticut, where he remained from 1826 to 1843. He moved to Catskill, New York, in 1844, to study art for two years under Thomas Cole, the founder of the Hudson River School. Cole preferred the style of creating compositions of both representational and imaginative landscapes, where the artist creates a fusion of what is both in the natural world and in the mind on the canvas. During this time, Church made sketches in Long Island and completed a painting in Catskill (The Catskill Creek, 1845). He first exhibited two works, Twilight among the Mountains and Hudson Scenery at the National Academy of Design in 1845.
Church sketched throughout southern Vermont in 1849, completing more than ten paintings that year, including A Mountain Tempest, The Plague of Darkness, West Rock, New Haven, Above the Clouds at Sunrise, View in Pittsford, Vermont, New England Landscape (Evening after a Storm), The Harp of the Winds (A Passing Storm), Morning, Sunset, and Lower Falls, Rochester, as only a small selection. Mountain Landscape is believed to have been created back in the studio sometime between 1849 and 1850 based on Church's memories of his time in Vermont. It was alternately titled Sunset—West Rock, New Haven, as it was thought to depict West Rock, New Haven, an idea which was later discounted. At least one similar, but slightly different variant from the same time and scene, New England Landscape (c. 1849), is held by the Amon Carter Museum.
Provenance
Originally owned by banker Samuel M. Nickerson (1830–1914), president of the First National Bank of Chicago and a prominent 19th-century art collector, the painting was part of his extensive art collection, which he donated to the Art Institute of Chicago in 1900. In 1950, Percy Sloan, son of the Hudson River School artist Junius R. Sloan, acquired Mountain Landscape from the Art Institute and donated it to Valparaiso University as part of a larger bequest of 400 works. In 2023, Mountain Landscape became the subject of a controversial proposal. Valparaiso University, facing financial pressures amidst declining enrollment and a deficit, announced plans to sell the painting as part of an effort to fund dormitory renovations to attract new students. This decision ignited a heated debate over the ethics of deaccessioning—a process governed by ethical museum guidelines that typically mandate reinvesting the proceeds of artwork sales back into the museum's collection. Instead, the proposed sale aimed to direct funds toward non-art-related expenditures, provoking strong opposition from faculty, students, and the wider art community.
Related work
-
New England Scenery (1851)
-
Vermont Scenery (1852)
.jpg)
References
- Dexter, Matt (1996). "Mountain Landscape". Description Essays. The Valpo Core Reader. Valparaiso University. 213. Retrieved October 31, 2024.
- ^ Hertzlieb, Gregg (Fall/Winter 2009-2010). "Frederic Edwin Church: Mountain Landscape" Archived 2024-08-01 at the Wayback Machine. Valparaiso Poetry Review. Valparaiso University. XI (1). Retrieved October 30, 2024.
- ^ Kelly, Franklin; Gould, Stephen Jay; Ryan, James Anthony; Rindge, Deborah (1989). Frederic Edwin Church Archived 2024-09-17 at the Wayback Machine. National Gallery of Art: Smithsonian Institution Press. pp. 32-43; 158-160.ISBN 9780894681363. OCLC 20016290.
- ^ Collection of Mr. & Mrs. Samuel M. Nickerson: Presented to The Art Institute of Chicago, February, 1900. Art Institute of Chicago. p. 7. OCLC 6030139.
- Kelly, Franklin; Carr, Gerald L. (1987). The Early Landscapes of Frederic Edwin Church, 1845-1854. pp. 98-100. ISBN 0883600781. OCLC 1244732516.
- "Mountain Landscape, (painting)". Inventories of American Painting and Sculpture, Smithsonian American Art Museum.
- "Nickerson, Samuel M. (Samuel Mayo), 1830-1914". Archives Directory for the History of Collecting in America. Art History Research Databases. Frick Collection. Retrieved October 31, 2024.
- "Samuel M. Nickerson". (1914). Bulletin of the Art Institute of Chicago (1907-1951). 8 (2): 19.
- Boucher, Brian (September 4, 2024). "A Court Approves Valparaiso University's Controversial Plan to Sell Paintings From Brauer Museum Collection" Archived 2024-09-26 at the Wayback Machine. Artnet. Retrieved October 30, 2024.
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