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The initially painting I found at the OF was Fall Sunset for Greenwood by Jasper Cropsey. It initially caught my personal eye as a result of large lake and its contrast to the terrain next to it. The river links the downroad to the backdrop, there are grazing animals (cattle), and the mountains as well as the darker clouds above them in the back represent the idea of the elegant. I believe, since this painting is based on a place in Greenwood Pond, New York, it could represent the concept of a getaway in an urbanizing environment. It had been painted in 1876, therefore America was 100 years old at that point. New York was becoming urbanized amidst first the Industrial Revolution after the Detrimental War. This painting directly critiques that idea and reminds individuals who they do not have to conform to the urbanizing environment, and that there is still methods to escape for the spiritual world of nature. I do believe the use of all the fall hues (bright oranges, darker reds, and yellows), as well as the sunset in the sky, provides audience a calm feeling. Certainly one of my personal appearance that I look for in characteristics is the concept that it is a part of history minimally touched simply by man, and the slow alterations occurring after some time are an extensive contrast from the rapid changing technologies and culture of the modern world. This piece of art reflects my own feeling correctly, as your environment was changing speedily, this practically untouched piece of land still linked humanity to Earth’s all-natural past. A single interesting note about Jasper Cropsey’s work is that this idea comes up in most of his other pieces. Following briefly checking over his other artwork, I figured almost all of these people were based about natural surroundings in different parts of Fresh England (some in New Hampshire, New Jersey, and New York), which will all generally reflect the idea of escaping estate in these areas.
Another painting that caught my personal eye was Heart of the Andes by simply Robert Duncanson, painted in 1871 (note: originally colored by Fredric Church in 1857). The Hudson Riv compositional factors include a large representation with the sublime by means of a dark mountain sequence filling the setting, idle figures in the foreground, a water through to the background, and mounting vegetation with trees upon either side of the lake. This painting gives me mare like a spiritual perception than Cropsey’s Autumn Sunset at Greenwood. The idling figures inside the foreground are most often travelling over a path leading through the mountains in the background. The thought of the power of The almighty in the face of the sublime comes into play, in that these kinds of travelling numbers are about to directly deal with this risky path. My speculation around the overall meaning of the art work is that the panorama is not at all times friendly and pretty, and this conquering it truly is no easy task. This could be in response to the American westward expansionist ideal at that time. Although I am not really personally faith based, I find the idea of conquering risky panoramas through spiritual techniques to be specifically interesting, and I respect the thought of God creating these impressive sublime illustrations. An interesting simple fact about Robert Duncanson is the fact at the same time having been creating Hudson River School inspired parts, he was likewise being entrusted by abolitionist patrons to depict antislavery scenes.
The final Hudson Water School piece of art I found was Mount Brewer from King’s River Encolure, by Albert Bierstadt in 1872. This is based on a landscape present in California. The elements contain slight framework vegetation (a few forest on both side) and a large icon of the stylish in the form of the mountain alone. This art work connects romanticism with the tough view in the American Western world. Bierstadt portrayed this in Mount Brewer by romanticizing the durable landscape and natural formations. I personally believe the feel from the sublime portrayal in the painting leans more toward the awe-inspiring part of the sublime suitable, rather than the dangerous side. Could be this portrait was intended to draw people to the western world, and show skeptics that the scary-looking landscapes are not all that poor. This is different from Duncanson’s painting for that reason. Instead of a hazardous trek, Bierstadt depicted the sublime as something to become admired and respected. That lines up with my personal feelings in the sublime too. I think impressive storms and mountains are generally not something to be feared, although can be an adrenaline-filled experience when experienced direct, and are absolutely admirable. An appealing fact about Bierstadt is that his artwork were greatly criticized for being too “light” and over-romanticized, and that they created a false feeling of guarantee from the American West.
