A Shanty Near Hague, Lake George

Collections: 
Classification: 
Date: 
1874
Medium: 
Oil on canvas
Dimensions: 
Overall: 15 x 12 1/4 in. ( 38.1 x 31.1 cm )
Description: 
A wooden shanty with smoke curling from its chimney and laundry drying on a line in rural setting, surrounded by implements of country life; standing woman, seated man, and dog before the structure.
Credit Line: 
Bequest of Miriam Godofsky
Object Number: 
1999.6
Date Begin: 
1874
Date End: 
1874
eMuseum Object ID: 
40954
Due to ongoing research, information about this object is subject to change.

Hudson River Valley from Fort Putnam, West Point

Collections: 
Classification: 
Date: 
1855
Medium: 
Oil on canvas
Dimensions: 
Overall: 46 7/16 x 58 5/16 x 1 in. ( 118 x 148.1 x 2.5 cm )
Description: 
Landscape with nine figures and an animal in foreground; city in background.
Credit Line: 
Gift of John V. Irwin and William F. Irwin
Object Number: 
1927.1
Marks: 
signed and dated: lower right: "G. H. B./1855"
Gallery Label: 
As a very young artist, Boughton chose a classic view of the Hudson Highlands near West Point for this large and ambitious canvas; one that also portrays the overgrown structure of Fort Putnam in the foreground. The picturesque and patriotic significance of the site, a famous ruin of the Revolutionary period, is reinforced by the visitors who gather to enjoy the vista and listen as an elderly guide, gesturing toward the ruins, recounts the military history of the spot.
Date Begin: 
0
Date End: 
1855
eMuseum Object ID: 
39970
Due to ongoing research, information about this object is subject to change.

Rural Scene with Two Figures in a Horse Cart

Collections: 
Classification: 
Date: 
1884
Medium: 
Oil on artboard
Dimensions: 
Overall: 12 1/8 in. ( 30.8 cm )
Description: 
Rural scene with two figures in a two-wheel cart drawn by two horses, dog running down the dirt road after it.
Credit Line: 
Bequest of Miriam Godofsky
Object Number: 
1999.7
Inscriptions: 
Inscribed in oil at lower center: "W.R. Miller 1884"
Date Begin: 
0
Date End: 
1884
eMuseum Object ID: 
33265
Due to ongoing research, information about this object is subject to change.

The Solitary Oak (The Old Oak)

Classification: 
Date: 
1844
Medium: 
Oil on canvas (relined)
Dimensions: 
Overall: 36 x 48 in. ( 91.4 x 121.9 cm ) Framed: 4 1/2 x 46 3/4 x 58 3/4 in. (11.4 x 118.7 x 149.2 cm)
Credit Line: 
Gift of The New-York Gallery of the Fine Arts
Object Number: 
1858.75
Gallery Label: 
Durand's original title for this painting was The Solitary Oak with the Old oak listed as a later designation.
Bibliography: 
"National Academy of Design," The New York Herald, April 27, 1844, p.1, col. 6. Deming, Henry C., and MacKay, James, eds., The New World, New York: Vol. VIII, No. 18, May 4, 1844, p. 562, col. 1. "National Academy of Design," The Anglo American, Vol. III, No. 5, May 25, 1844, pp. 116-7. Tuckerman, Henry T., Book of the Artists, American Artist Life, Comprising Biographical and Critical Sketches of American Artists: Preceded by an Historical Account of the Rise and Progress of Art in America, New York: P. Putnam & Son, 1867, p. 621. "Pictures by Durand," The New York Times, April 26, 1903, p. 34. Richardson, E. P., Painting in America: The Story of 450 Years, New York: Thomas Y. Crowell Company, 1956, p. 170. Pierson Jr., William H., and Davidson, Martha, eds., Arts of the United States: A Pictorial Survey, New York: McGraw-Hill Book Company, Inc., 1960, p. 304. Novak, Barbara, "Asher B. Durand and European Art," The Art Journal, Vol. XXI, Summer 1962, pp. 250-2. Green, Samuel M., American Art: A Historical Survey, New York: The Ronald Press Company, 1966, p. 252. Lawall, David B., Asher Brown Durand: His Art and Art Theory in Relation to his Times, Submitted to Princeton University in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy, March 1966, pp. 113, 359, Fig. 133. Caldwell, John S., Asher B. Durand's Travels in Europe, 1840-1841 and their Role in his Artistic Development, Submitted in partial fulfillment of the requirements for the degree of Master of Arts, Hunter College, The City University of New York, 1973, pp. 14-5, 23-4, 28-9, 35. Lawall, David B., Asher B. Durand: A Documentary Catalogue of the Narrative and Landscape Paintings, New York & London, Garland Publishing, Inc., 1978, pp. 41-3. Koke, Richard J., American Landscape and Genre Paintings in the New York Historical Society, Vol. I, New York: The New-York Historical Society, 1982, pp. 318-21. Mann, Maybelle, "The New-York Gallery of Fine Arts: 'A Source of Refinement,'" American Art Journal, Vol. XI, January 1979, p. 83-4. Caldwell, John and Roque, Oswaldo Rodriguez, American Paintings in the Metropolitan Museum of Art, Vol. I, A Catalogue of Works by Artists Born by 1815, New York: The Metropolitan Museum of Art, 1994, pp. 423-4. Georgi, Karen L., Asher B. Durand's American Landscapes and the Nature of Representation, Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy, 2000, pp. 17-8, 122-57. New-York Historical Society, Perspectives on the Collections of The New-York Historical Society, New York: The New-York Historical Society, 2000, pp. 32-3. Bedell, Rebecca, The Anatomy of Nature: Geology & American Landscape Painting, 1835-1875, Princeton: Princeton University Press, 2001, pp. 55, 160. Vedder, Lee A., "Heeding the Call of Nature: Asher Brown Durand's Communion with the American Landscape," The New-York Journal of American History, New York: New-York Historical Society, Vol. LXV, No. 4, Fall 2004, pp. 34-5, 45. Ferber, Linda S., ed., "Asher B. Durand, American Landscape Painter," Kindred Spirits Asher B. Durand and the American Landscape, Brooklyn Museum, 2007, pp. 143, 201, 214, 217. Vedder, Lee A. "Nineteenth-century American paintings." The Magazine Antiques 167 (2005): 146-155.
Date Begin: 
0
Date End: 
1844
eMuseum Object ID: 
22948
Due to ongoing research, information about this object is subject to change.

Hastings-on-Hudson

Collections: 
Classification: 
Date: 
ca. 1860
Medium: 
Oil on canvas
Dimensions: 
Overall (canvas): 16 3/4 x 24 in. (42.5 x 61 cm) Frame: 26 1/2 x 33 1/2 x 2 3/4 in. ( 67.3 x 85.1 x 7 cm )
Credit Line: 
Gift of Nora Durand Woodman
Object Number: 
1932.12
Gallery Label: 
This plein air study documents a still-rural landscape scene in what was rapidly becoming suburban Westchester County. Durand's straightforward record shows a dirt road carved out of the surrounding woods. Its bare surface is unrelieved by any bordering plant life and enlivened only by the pattern of tree shadows thrown across its width from the left. One might guess that Durand, out trekking and searching for pictorial subject matter, was inspired by these bold patterns of light and shadow to execute an afternoon plein air study right in the middle of the roadway.
Bibliography: 
Lawall, David B., Asher Brown Durand: His Art and Art Theory in Relation to his Times, Submitted to Princeton University in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy, March 1966, p. 260. Lawall, David B., Asher B. Durand: A Documentary Catalogue of the Narrative and Landscape Paintings, New York & London, Garland Publishing, Inc., 1978, pp. 174. Koke, Richard J., American Landscape and Genre Paintings in the New York Historical Society, Vol. I, New York: The New-York Historical Society, 1982, p. 357.
Date Begin: 
0
Date End: 
1860
eMuseum Object ID: 
22947
Due to ongoing research, information about this object is subject to change.

Harbor Island, Lake George, N.Y.

Collections: 
Classification: 
Date: 
1872
Medium: 
Oil on canvas
Dimensions: 
Overall: 17 x 24 in. ( 43.2 x 61 cm ) frame: 26 1/4 x 33 7/8 x 2 3/4 in. ( 66.7 x 86 x 7 cm )
Credit Line: 
Gift of Nora Durand Woodman
Object Number: 
1932.22
Marks: 
inscription: inscribed on stretcher, in pencil: "Deers/Leap/Lake/George, N.Y." Framer's label: 'Thos. A. wilmurt / Mirrors and Picture Frames / 54 E. 13th St., New York.' (Thomas A. Wilmurt was listed in the New York City directory at 54 East 13th Stree
Provenance: 
The artist and his family.
Bibliography: 
Executor's Sale, Studies in Oil by Asher B. Durand, N.A., Deceased, Ortgies' Art Gallery, New York, April 13 and 14, 1887, p. 26, no. 345. Lawall, David B., Asher Brown Durand: His Art and Art Theory in Relation to his Times, Submitted to Princeton University in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy, March 1966, pp. 262-3, 381-5, 664-5, Figs. 136-7. Lawall, David B., Asher B. Durand: A Documentary Catalogue of the Narrative and Landscape Paintings, New York & London, Garland Publishing, Inc., 1978, pp. 189-90. Koke, Richard J., American Landscape and Genre Paintings in the New York Historical Society, Vol. I, New York: The New-York Historical Society, 1982, p. 360.
Date Begin: 
0
Date End: 
1872
eMuseum Object ID: 
22866
Due to ongoing research, information about this object is subject to change.

View of the Hudson Highlands from Ruggles House, Newburgh, N.Y.

Collections: 
Classification: 
Date: 
1838
Medium: 
Oil on canvas
Dimensions: 
Overall: 16 7/8 x 21 in. ( 42.9 x 53.3 cm ) frame: 21 3/4 x 26 x 2 in. (55.2 x 66 x 5.1 cm)
Credit Line: 
Gift of the Collection of Waldron Phoenix Belknap
Object Number: 
1952.95
Gallery Label: 
This view of the Hudson Highlands by Cornell was based on an engraving by Robert Brandard after the original done in 1836 by William Henry Bartlett (1809-1854).
Date Begin: 
0
Date End: 
1838
eMuseum Object ID: 
22395
Due to ongoing research, information about this object is subject to change.

Castle of Ostia Seen from the Pine Forest of Castel Fusano

Collections: 
Classification: 
Date: 
1881
Medium: 
Oil on canvas
Dimensions: 
Overall: 25 1/2 x 71 in. ( 64.8 x 180.3 cm ) Frame: 33 1/2 x 79 x 3 in. (85.1 x 200.7 x 7.6 cm)
Credit Line: 
Purchase, Thomas Jefferson Bryan Fund
Object Number: 
1992.11
Gallery Label: 
See accession file.
Date Begin: 
0
Date End: 
1881
eMuseum Object ID: 
22134
Due to ongoing research, information about this object is subject to change.

The Vale and Temple of Segestae, Sicily

Collections: 
Classification: 
Date: 
1844
Medium: 
Oil on canvas
Dimensions: 
Overall: 44 1/4 x 66 in. ( 112.4 x 167.6 cm ) Framed: 59 x 79 7/8 x 5 in. ( 149.9 x 202.9 x 12.7 cm )
Credit Line: 
Gift of The New-York Gallery of the Fine Arts
Object Number: 
1858.62
Gallery Label: 
In August 1841 Cole departed for his second trip abroad. His travels took him to England, Paris, through the Alps, then to Rome. In the summer of 1842 he visited Sicily, where he encountered the view that inspired this painting. Cole wrote of having painted a small view of the Temple of Segesta, and his 1844 description of the scenery in The Knickerbocker suggests that the N-YHS painting is in large part an accurate, unembellished view: "the broad slopes of an ample valley lie before the traveler, which though almost treeless, are waving with beans, and grain and grass. In the depth, is a river meandering among fragrant oleanders; on the left, the valley is intersected by a range of distant mountains; on the right is a beautiful bay of the Mediterranean. Across the valley the mountains form a green amphitheatre, and high in the its remotest part is seen the Temple of Segeste [sic]." The Temple, built in the late fifth century, is one of the best preserved in Magna Graecia. In keeping with Cole's description, it crowns a distant hill. In another painting, The Temple of Segesta with the Artist Sketching of ca. 1843 (Museum of Fine Arts, Boston) Cole made the structure a focal point, but here it is a distant jewel, almost blending into the rocky landscape. In keeping with the picturesque tradition that dominated American landscape painting, Cole framed the scene with large waving palm trees on the left and an outcropping of rock on the right. In the foreground, goats frolic in familial groupings, perhaps alluding to their human counterparts in the dwellings scattered throughout the scene, and a cloaked peasant observes a pair at right. The mist rolling out of the valley behind the temple suggests the vastness of the landscape. Cole exhibited several European scenes at the National Academy of Design in New York upon his return, but not this one. The artist presented it to the New York Gallery of the Fine Arts, an organization devoted to displaying the collection of Cole's friend and patron Luman Reed, who had died in 1836. It was exhibited there in 1844 and praised as "one of his finest landscapes."
Bibliography: 
Cole, Thomas, "Sicilian Scenery and Antiquities," The Knickerbocker, Vol. XXIII, Feb. 1844,104-114 and Mar. 1844, 236-244. "The New York Gallery of Fine Arts," The Broadway Journal, March 1, 1845, p. 134. Noble, Louis Legrand, The Life and Works of Thomas Cole, Hensonville, New York: Black Dome Press, 1964, p. 161. Mann, Maybelle, "The New-York Gallery of Fine Arts: 'A Source of Refinement,'" The American Art Journal, Vol. XI, No. 1, January 1979, p. 79. Koke, Richard J., American Landscape and Genre Paintings in the New-York Historical Society, Vol. I, New York: The New-York Historical Society, 1982, pp. 206-7. Novak, Barbara, American Painting of the Nineteenth Century: Realism, Idealism, and the American Experience, New York: Oxford University Press, 2007, p. 56. Goldin, Marco, ed., America: Storie di pittura dal Nuovo Mondo, Italy: Linea d'Ombra Libri, 2007, pp. 169, 459-60.
Date Begin: 
0
Date End: 
1844
eMuseum Object ID: 
21846
Due to ongoing research, information about this object is subject to change.

Study from Nature: Rocks and Trees

Collections: 
Classification: 
Date: 
ca. 1856
Medium: 
Oil on canvas
Dimensions: 
Frame: 26 1/4 x 30 3/4 x 4 in. (66.7 x 78.1 x 10.2 cm) Overall: 21 x 16 1/2 in. ( 53.3 x 41.9 cm )
Credit Line: 
Gift of Mrs. Lucy Maria Durand Woodman
Object Number: 
1907.26
Gallery Label: 
With Cole's untimely death in 1848, Hudson River School artists rising to prominence at mid century found a new leader in Asher Brown Durand (1796-1886). Forsaking a successful career as a steel engraver, Durand had turned his attention to landscape painting in 1837, compelled by the first of many summer sketching expeditions he took with Cole to the Adirondack, Catskill, and White mountains. Durand shared with his friend and mentor a belief in the nobility of the virgin American landscape, redolent of divine promise, and set out to capture its essence in minute detail. His aesthetic vision, while beholden to Cole's, was decidedly less historic and allegorical and far more sensory and immediate. For Durand, it was the "common details" of nature, spotted in situ in the wilderness, that inspired him most. He experienced his communion with nature as a spiritual journey; making the sketches and paintings he produced acts of personal devotion. We see in his nature studies, both in graphite and in oil, a clear, reverent eye intent on recording nature's particulars so as to convey both the look and feel of direct experience. The geological and botanical fidelity exhibited in Rocks and Trees corresponds with a fundamental tenet of Durand's landscape philosophy - truth to Nature - outlined in his 1855 "Letters on Landscape Painting." He wrote, "I have already advised you to aim at direct imitation as far as possible, in your studies of foreground objects. You will be most successful in the more simple and solid materials, such as rocks and tree trunks, and after these, earth banks and the coarser kinds of grass, with mingling roots and plants, the larger leaves of which can be expressed with even botanical truthfulness; and they should be so rendered, but when you attempt masses of foliage or running water, anything like an equal degree of imitation becomes impracticible."
Bibliography: 
Executor's Sale, Studies in Oil by Asher B. Durand, N.A., Deceased, Ortgies' Art Gallery, New York, April 13 and 14, 1887, p. 20, no. 300. Catalogue of the Gallery of Art of The New York Historical Society, New York: Printed for the Society, 1915, p. 42. Lawall, David B., Asher Brown Durand: His Art and Art Theory in Relation to his Times, Submitted to Princeton University in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy, March 1966, pp. 254, 364. Lawall, David B., Asher B. Durand: A Documentary Catalogue of the Narrative and Landscape Paintings, New York & London, Garland Publishing, Inc., 1978, p. 177. A Mirror of Creation: 150 Years of American Nature Painting, New York Friends of American Art in Religion, Inc., 1980, unpaginated. Deak, Gloria-Gilda, Kennedy Galleries' Profiles of American Artists, New York: Kennedy Galleries, 1984, pp. 80-1. Koke, Richard J., American Landscape and Genre Paintings in the New York Historical Society, Vol. I, New York: The New-York Historical Society, 1982, p. 342. Novak, Barbara, Nineteenth-Century American Painting, The Vendome Press, 1986, pp. 24-5. Goddard, Donald, American Painting, New York: Hugh Lauter Levin Associates, Inc., 1990, pp. 49, 53. Harvey, Eleanor Jones, The Painted Sketch: American Impressions from Nature 1830-1880, Dallas: Dallas Museum of Art, 1998, 140-1. Foshay, Ella M., and Novak, Barbara, Intimate Friends: Thomas Cole, Asher B. Durand, William Cullen Bryant, New York: The New-York Historical Society, 2000, pp. 37-43, 55. Bedell, Rebecca, The Anatomy of Nature: Geology & American Landscape Painting, 1835-1875, Princeton: Princeton University Press, 2001, pp. 60-4, 159, 161. Leggio, Gail, "Nature's Presence: Asher B. Durand and American Landscape," American Arts Quarterly, Spring 2007, pp. 10-8. Peck, H. Daniel, "Unlikely Kindred Spirits: A New Vision of Landscape in the Works of Henry David Thoreau and Asher B. Durand," American Literary History, Vol. 17, No. 4, November 30, 2005, pp. 699-700. Vedder, Lee A. "Nineteenth-century American paintings." The Magazine Antiques 167 (2005): 146-155.
Date Begin: 
0
Date End: 
1856
eMuseum Object ID: 
21798
Due to ongoing research, information about this object is subject to change.

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