Background Information on the Hudson River School:
According to the article, "Hudson River School: Painting Eden" by Stern, the Hudson River School was actually an art movement that began in 1825 and ended in 1875 (Stern 1). The movement was based mostly in the Hudson River Valley, hence the name Hudson River School. However, some artists involved in the movement traveled to other places in America to paint nature (Stern 1).
In the essay, "The Hudson River School Painters", it stated that the Hudson River School was considered the first American art movement because American painters started to focus on nature in America for their paintings ("Hudson River School Painters 1). They stopped trying to mimic European art. This was the first time in American history where artists looked toward their country as a source of inspiration ("Hudson River School Painters" 1).
Before the Hudson River School artist, the only painters in America were portrait artists (Stern 1). These artists were in high demand even to ordinary citizens because photographs were not invented yet (Stern 1). Therefore, many people demanded artists to paint portraits of their family members (Stern 1). These portraits became keepsakes for families. The paintings preserved memories of people who have pass away (Stern 1). The practice of painting portraits came from Great Britain. Artists would travel to Great Britain and learn from English painters how to paint (Stern 1). When the Americans artists returned they would continue to practice painting portraits (Stern 1). Since they were taught by the master painters, American artists painted in the exact way as they were taught ("Hudson River School Painters" 4).
The portrait on the left above is by an English painter, Francis Cotes. He painted this painting in 1783. It depicts a woman in a blue dress sitting down. The main focus of the painting is the woman in the portrait. There is black space surrounding the woman so she is the focal point. Cotes painted this portrait because he wanted to capture the woman. His purpose was to preserve the memory of the woman so that when she died she would be remembered by her children and grandchildren. Cotes was an English artist. His ethnicity influenced him because all English artists were painting portraits so he followed in their footsteps. During the 1700s-1800s, the purpose of an artist was not to make art to please the eye, but to record down information in picture form. They painted historical scenes and people. Their artworks served as memories from the past.
Although, Americans were independent from Great Britain, they still copied Britain's art (Stern 1). For instance, the painting above on the right was by the American painter, Susannah Paine. She painted this portrait of Hannah Fuller Smith Stanwood in 1834. Paine copied European's art because she made portraits. Similarly, Paine did not pay attention to the background. In both portraits the background is not detail; there is only some colors painted behind the women. Paine probably went to Great Britain to study art from other artists. During the early 1800s, America did not have a national identity (Buhle, Czitrom, Armitage, and Faragher 294). The country itself was still developing and establishing itself as an independent nation (Buhle, Czitrom, Armitage, and Faragher 294). The War of 1812 happened because America was establishing itself, once again, as an independent country to Great Britain (Buhle, Czitrom, Armitage, and Faragher 294). Since there were no national identity, artists like Paine, continued to mimic European art ("Hudson River School Painters" 4). American painters had learned that European art was the best so they copied from the English ("Hudson River School Painters" 4). But, there was another reason why Americans painted portraits. Similarly to Great Britain, artists were like historians (Stern 1). They recorded important figures and events in history in their paintings (Stern 1). Thus, the American painters also painted portraits to preserve people (Stern 1). The similarities between these paintings prove that Americans were still mimicking European's art.
During the 1820s, America had recently won the war of 1812 against Britain (Buhle, Czitrom, Armitage, and Faragher 293-294). As a result, they were extremely proud and many heroes had portrait paintings made for them so that they could capture the victorious moment (Buhle, Czitrom, Armitage, and Faragher 293-294). The American pride in winning a war boosted the pride citizens had in their country (Buhle, Czitrom, Armitage, Faragher 293-294). Many Americans had more appreciation for the country because America could defend itself one of the most powerful countries, Great Britain (Buhle, Czitrom, Armitage, and Faragher 293-294). Consequently, this pride affected art. Americans painters turned to landscape as a source of inspiration ("Hudson River School Painters" 2). According to the book, "Out of Many: A History of the American People", Americans began to explore the landscape more in the 1800s (Buhle, Czitrom, Armitage, and Faragher 283). The Louisiana Purchase opened up new land to Americans (Buhle, Czitrom, Armitage, and Faragher 283). Thus, many farmers migrated to the land in search of fertile land to grow crops on (Buhle, Czitrom, Armitage, Faragher 294). It was because of all the migration to the new lands that artists such as the Hudson River School painters started to paint nature (Wallach 1). They found nature appealing. This appreciation was also due to the the transportation revolution which ruined nature (Wallach 1). When the Erie Canal was built, it caused large cities to form beside the canal (Wallach 1). Many Americans realized the accessibility that the canal offered. They could transport goods faster (Wallach 1). The increase in population to these areas led to the destruction of wilderness (Wallach 1). The Hudson River School artists were motivated to appreciate all of nature before it was completely destroyed by humans (Wallach 1).
According to the essay, "Hudson River School Painters", the Hudson River School painters were revolutionary because they made art that celebrated the beauty of America ("Hudson River School Painters" 2). They painted landscape paintings, most of which are on the Hudson River Valley ("Hudson River School Painters" 2). Although, some traveled in the west to paint landscapes ("Hudson River School Painters" 2). One of the important beliefs that the Hudson River School artists believed in was that they could reconnect with God through their art ("Hudson River School Painters" 2). The painters saw nature as God's work ("Hudson River School Painters" 2). When they painted landscape paintings, they would reconnect with God ("Hudson River School Painters" 2). As a result, they would understand God and be more spiritually connected to the world ("Hudson River School Painters" 2). The purpose of the Hudson River School paintings was to transfer the emotions that the artists felt when they were reconnecting with God ("Hudson River School Painters" 2). The Hudson River School painters wanted be more spiritual ("Hudson River School Painters" 2). The artists hoped that people who viewed their work would also reconnect with God through nature ("Hudson River School Painters" 2). For this reason, the Hudson River School was influenced by the romanticism movement that was spreading throughout the world ("The Romantic Era" 1).
In the essay, "The Hudson River School Painters", it stated that the Hudson River School was considered the first American art movement because American painters started to focus on nature in America for their paintings ("Hudson River School Painters 1). They stopped trying to mimic European art. This was the first time in American history where artists looked toward their country as a source of inspiration ("Hudson River School Painters" 1).
Before the Hudson River School artist, the only painters in America were portrait artists (Stern 1). These artists were in high demand even to ordinary citizens because photographs were not invented yet (Stern 1). Therefore, many people demanded artists to paint portraits of their family members (Stern 1). These portraits became keepsakes for families. The paintings preserved memories of people who have pass away (Stern 1). The practice of painting portraits came from Great Britain. Artists would travel to Great Britain and learn from English painters how to paint (Stern 1). When the Americans artists returned they would continue to practice painting portraits (Stern 1). Since they were taught by the master painters, American artists painted in the exact way as they were taught ("Hudson River School Painters" 4).
The portrait on the left above is by an English painter, Francis Cotes. He painted this painting in 1783. It depicts a woman in a blue dress sitting down. The main focus of the painting is the woman in the portrait. There is black space surrounding the woman so she is the focal point. Cotes painted this portrait because he wanted to capture the woman. His purpose was to preserve the memory of the woman so that when she died she would be remembered by her children and grandchildren. Cotes was an English artist. His ethnicity influenced him because all English artists were painting portraits so he followed in their footsteps. During the 1700s-1800s, the purpose of an artist was not to make art to please the eye, but to record down information in picture form. They painted historical scenes and people. Their artworks served as memories from the past.
Although, Americans were independent from Great Britain, they still copied Britain's art (Stern 1). For instance, the painting above on the right was by the American painter, Susannah Paine. She painted this portrait of Hannah Fuller Smith Stanwood in 1834. Paine copied European's art because she made portraits. Similarly, Paine did not pay attention to the background. In both portraits the background is not detail; there is only some colors painted behind the women. Paine probably went to Great Britain to study art from other artists. During the early 1800s, America did not have a national identity (Buhle, Czitrom, Armitage, and Faragher 294). The country itself was still developing and establishing itself as an independent nation (Buhle, Czitrom, Armitage, and Faragher 294). The War of 1812 happened because America was establishing itself, once again, as an independent country to Great Britain (Buhle, Czitrom, Armitage, and Faragher 294). Since there were no national identity, artists like Paine, continued to mimic European art ("Hudson River School Painters" 4). American painters had learned that European art was the best so they copied from the English ("Hudson River School Painters" 4). But, there was another reason why Americans painted portraits. Similarly to Great Britain, artists were like historians (Stern 1). They recorded important figures and events in history in their paintings (Stern 1). Thus, the American painters also painted portraits to preserve people (Stern 1). The similarities between these paintings prove that Americans were still mimicking European's art.
During the 1820s, America had recently won the war of 1812 against Britain (Buhle, Czitrom, Armitage, and Faragher 293-294). As a result, they were extremely proud and many heroes had portrait paintings made for them so that they could capture the victorious moment (Buhle, Czitrom, Armitage, and Faragher 293-294). The American pride in winning a war boosted the pride citizens had in their country (Buhle, Czitrom, Armitage, Faragher 293-294). Many Americans had more appreciation for the country because America could defend itself one of the most powerful countries, Great Britain (Buhle, Czitrom, Armitage, and Faragher 293-294). Consequently, this pride affected art. Americans painters turned to landscape as a source of inspiration ("Hudson River School Painters" 2). According to the book, "Out of Many: A History of the American People", Americans began to explore the landscape more in the 1800s (Buhle, Czitrom, Armitage, and Faragher 283). The Louisiana Purchase opened up new land to Americans (Buhle, Czitrom, Armitage, and Faragher 283). Thus, many farmers migrated to the land in search of fertile land to grow crops on (Buhle, Czitrom, Armitage, Faragher 294). It was because of all the migration to the new lands that artists such as the Hudson River School painters started to paint nature (Wallach 1). They found nature appealing. This appreciation was also due to the the transportation revolution which ruined nature (Wallach 1). When the Erie Canal was built, it caused large cities to form beside the canal (Wallach 1). Many Americans realized the accessibility that the canal offered. They could transport goods faster (Wallach 1). The increase in population to these areas led to the destruction of wilderness (Wallach 1). The Hudson River School artists were motivated to appreciate all of nature before it was completely destroyed by humans (Wallach 1).
According to the essay, "Hudson River School Painters", the Hudson River School painters were revolutionary because they made art that celebrated the beauty of America ("Hudson River School Painters" 2). They painted landscape paintings, most of which are on the Hudson River Valley ("Hudson River School Painters" 2). Although, some traveled in the west to paint landscapes ("Hudson River School Painters" 2). One of the important beliefs that the Hudson River School artists believed in was that they could reconnect with God through their art ("Hudson River School Painters" 2). The painters saw nature as God's work ("Hudson River School Painters" 2). When they painted landscape paintings, they would reconnect with God ("Hudson River School Painters" 2). As a result, they would understand God and be more spiritually connected to the world ("Hudson River School Painters" 2). The purpose of the Hudson River School paintings was to transfer the emotions that the artists felt when they were reconnecting with God ("Hudson River School Painters" 2). The Hudson River School painters wanted be more spiritual ("Hudson River School Painters" 2). The artists hoped that people who viewed their work would also reconnect with God through nature ("Hudson River School Painters" 2). For this reason, the Hudson River School was influenced by the romanticism movement that was spreading throughout the world ("The Romantic Era" 1).
The author of the essay, "Hudson River School Painters" stated that many historians consider Thomas Cole as the founder of the Hudson River School ("Hudson River School Painters" 4). Although, he just painted landscape paintings that inspired others to paint in the same style as he did ("Hudson River School Painters" 4). When he painted a couple of paintings in 1825 and had them up for sale in a store, this attracted the attention of other future Hudson River school artists such as Durand ('Hudson River School Painters" 4). Cole's paintings were so impressive that the future Hudson River School artists decided to paint in the same style as Cole ("Hudson River School Painters" 4). They were inspired by Cole's paintings which depicted nature as the subject of the artwork ("Hudson River School Painters" 4). This was the start of the Hudson River School; Cole became the leader because he was the one that inspired the art movement ("Hudson River School Painters" 4).
The Hudson River School was a just a group of painters who painted American landscape paintings ("Hudson River School Painters" 3-5). It was not a school. When Thomas Cole died the person to take his place as the leader was Asher Durand ("Hudson River School Painters" 3-5). Durand was the leader of the Hudson River School until it ended in 1875 (Karasoulas 1).
There were two parts to the Hudson River School; the first generation and the second generation ("Hudson River School Painters" 5). In the essay, "Hudson River School Painters" it said, the first generation was led by Thomas Cole; it was composed of the first few artists who helped start the Hudson River School ("Hudson River School Painters" 5. These artists primarily painted in the Hudson River area ("Hudson River School Painters" 5). The second generation was after Thomas Cole died ("Hudson River School Painters" 5). Durand took Cole's place as the leader and led the second generation of artists (Karasoulas 1). Most of the artists in the second generation joined the Hudson River School after Cole died ("Hudson River School Painters 5). The older members of the Hudson River School, the first generation, taught the newer members of the movement, the second generation ("Hudson River School Painters 5).
Durand had a significant role in this movement because he became the leader of the school after Cole died (Karasoulas 1). He was able to advance the art movement and revolutionize the art world even more than Cole (Karasoulas 1). Under Durand's leadership, the American art world was altered (Karasoulas 1). America now had a national identity which was associated with his art ("Hudson River School Painters 5).
There were many artists that were involved in this art movement ("Hudson River School Painters" 3). According to the essay, "Hudson River School Painters," some of the artists were Thomas Cole, Asher B. Durand, Frederic Church, Albert Bierstadt, Albertus Browere, Harrison Brown, John Casilear, Samuel Colman, Henry Fenn, George Fuller, Sanford Gilford, Martin Heade, George Inness, John Kensett Whittredge, and Alexander Wyant ("Hudson River School Painters" 3).
Furthermore, the Hudson River School painters were influenced by romanticism, a movement happening during their time period. This movement shaped their beliefs (Stern 1).
The Hudson River School was a just a group of painters who painted American landscape paintings ("Hudson River School Painters" 3-5). It was not a school. When Thomas Cole died the person to take his place as the leader was Asher Durand ("Hudson River School Painters" 3-5). Durand was the leader of the Hudson River School until it ended in 1875 (Karasoulas 1).
There were two parts to the Hudson River School; the first generation and the second generation ("Hudson River School Painters" 5). In the essay, "Hudson River School Painters" it said, the first generation was led by Thomas Cole; it was composed of the first few artists who helped start the Hudson River School ("Hudson River School Painters" 5. These artists primarily painted in the Hudson River area ("Hudson River School Painters" 5). The second generation was after Thomas Cole died ("Hudson River School Painters" 5). Durand took Cole's place as the leader and led the second generation of artists (Karasoulas 1). Most of the artists in the second generation joined the Hudson River School after Cole died ("Hudson River School Painters 5). The older members of the Hudson River School, the first generation, taught the newer members of the movement, the second generation ("Hudson River School Painters 5).
Durand had a significant role in this movement because he became the leader of the school after Cole died (Karasoulas 1). He was able to advance the art movement and revolutionize the art world even more than Cole (Karasoulas 1). Under Durand's leadership, the American art world was altered (Karasoulas 1). America now had a national identity which was associated with his art ("Hudson River School Painters 5).
There were many artists that were involved in this art movement ("Hudson River School Painters" 3). According to the essay, "Hudson River School Painters," some of the artists were Thomas Cole, Asher B. Durand, Frederic Church, Albert Bierstadt, Albertus Browere, Harrison Brown, John Casilear, Samuel Colman, Henry Fenn, George Fuller, Sanford Gilford, Martin Heade, George Inness, John Kensett Whittredge, and Alexander Wyant ("Hudson River School Painters" 3).
Furthermore, the Hudson River School painters were influenced by romanticism, a movement happening during their time period. This movement shaped their beliefs (Stern 1).
For more information on romanticism click on the button to the right.
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