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| ==Background== | ==Background== | ||
| Church was raised in ], where he remained from 1826 to 1843. He moved to ], in 1844, to study art under ], the founder of the ] |
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== | ==Development== | ||
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| ==Description== | ==Description== | ||
| The |
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. Forests envelop the scene, providing a counterpoint to the orderly farmlands visible 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> | ||
| ==Provenance== | ==Provenance== | ||
Revision as of 02:19, 1 November 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 is an 1849, early period painting by American landscape painter Frederic Edwin Church of the Hudson River School of artists. The work depicts a landscape in the Northeastern United States based on Church's travels in 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. In 2024, the university proposed selling the painting as an asset to fund dormitory renovations, leading to a contentious debate about the ethics of deaccessioning artwork.
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.
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. Mountain Landscape is believed to have been created back in the studio sometime between 1849 and 1850 based on Church's memories in Vermont. At one time, 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.
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. Forests envelop the scene, providing a counterpoint to the orderly farmlands visible 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.
Provenance
The painting was originally owned by Samuel M. Nickerson, president of the First National Bank of Chicago in the late 19th century. The Nickerson art collection, of which Mountain Landscape was a part, was gifted to the Art Institute of Chicago in 1900, where the painting remained for 50 years. Percy Sloan, the son of Hudson River School painter Junius R. Sloan, purchased the painting in 1950 from the Art Institute of Chicago, which he then donated with 400 other artworks to Valparaiso University in 1953.
Deaccessioning
Until 2024, the painting was held by the Brauer Museum of Art at Valparaiso University, but is currently undergoing deaccessioning to fund the renovation of two residence halls at the university, a decision that was protested by the faculty, students, and larger art community due to the ethical guidelines followed by museums when entering the deaccessioning process, which requires them to reinvest the proceeds from any art sale back into the museum's art collection.
References
- ^ Kelly, Franklin; Gould, Stephen Jay; Ryan, James Anthony; Rindge, Deborah (1989). Frederic Edwin Church. National Gallery of Art: Smithsonian Institution Press. pp. 32-43; 158-160.ISBN 9780894681363. OCLC 20016290.
- ^ Hertzlieb, Gregg (Fall/Winter 2009-2010). "Frederic Edwin Church: Mountain Landscape". Valparaiso Poetry Review. Valparaiso University. XI (1). Retrieved October 30, 2024.
- ^ "Mountain Landscape, (painting)". Inventories of American Painting and Sculpture, Smithsonian American Art Museum.
- Kelly, Franklin; Carr, Gerald L., Church (1987). The Early Landscapes of Frederic Edwin Church, 1845-1854. Amon Carter Museum. pp. 99-100. ISBN 9780883600788. OCLC 1244732516.
- Dexter, Matt (1996). "Mountain Landscape". Description Essays. The Valpo Core Reader. Valparaiso University. 213. 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". Artnet. Retrieved October 30, 2024.
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