American Sublime: Landscape Painting in the United States 1820-1880

Overview

The painters who came to be known as the Hudson River School--Thomas Cole, Asher B. Durand, Frederic Edwin Church, Jasper Cropsey, Sanford Robinson Gifford, and others--found inspiration in our young country's natural wonders and were the first to paint many of its still-wild vistas. As America was settled and the wilderness receded, their successors--most notably Albert Bierstadt and Thomas Moran--carried their quest for the sublime to the Far West, communicating its breathtaking grandeur in brilliant views of ...

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2003 Trade paperback First edition. New. In original unopened shrinkwrap. Ship in sturdy box with bubble wrap. Trade paperback (US). Sewn binding. 282 p. Contains: ... Illustrations. Audience: General/trade. Read more Show Less

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Ewing, New Jersey, U.S.A. 2003 Paperback New 0691115567. FLAWLESS COPY, BRAND NEW, PRISTINE, NEVER OPENED-"None of the domestic cleverness of folk art is evident in American ... Sublime, a gorgeously illustrated and learned history of nineteenth-century American landscape painting, a sophisticated school rooted in British romanticism and American transcendence. Wilton, of the Tate Gallery, considers the influence of Edmund Burke's theory of sublimity and the surge in scientific development on American painters, while coauthor Tim Barringer, an art historian at Yale, discusses the profound effect on the painters' imaginations of a pristine land free of Western religious, literary, and historical associations. The American "instinct to find spiritual significance in nature" is manifest in the luminous beauty and high drama of the panoramic paintings of Frederic Edwin Church, Albert Bierstadt, and Jasper Francis Cropsey. But even as these painters and their colleagues, including Fritz Hugh Lane and Martin Johnson Read more Show Less

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Overview

The painters who came to be known as the Hudson River School--Thomas Cole, Asher B. Durand, Frederic Edwin Church, Jasper Cropsey, Sanford Robinson Gifford, and others--found inspiration in our young country's natural wonders and were the first to paint many of its still-wild vistas. As America was settled and the wilderness receded, their successors--most notably Albert Bierstadt and Thomas Moran--carried their quest for the sublime to the Far West, communicating its breathtaking grandeur in brilliant views of Rocky Mountain peaks, roaring waterfalls, and vast canyons. Within a single generation these artists established the dramatic approach to American landscape painting that is celebrated in this stirringly beautiful book. The freshness of their vision, the intensity of their invention, and the energy of their execution were all born of the urgency these artists sensed in the life of America itself.

Published to accompany a major transatlantic exhibition, American Sublime rejoices in America the Beautiful as seen in some of the country's most glorious landscape paintings. It contains a fully illustrated catalogue of all the paintings in the exhibition, with more than one hundred color plates, including three gatefolds. Biographies of the artists are included, and thoughtful and elegantly written essays cast new light on their ambitions and achievements. The lucid text places American landscape painting in the context of the international art world and of the European landscape tradition. And it explores ideas of national identity and empire in America, looking in particular at how these landscapes, whether real or imagined, reflect Americans' hopes and fears fortheir country.

As a tribute to some of our most important American artists and the land that inspired them, this stunningly illustrated book will have a deep and wide appeal.

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Editorial Reviews

KLIATT
Breathtaking is the word for this book. The catalog of an exhibit mounted by the Tate for London, Philadelphia and Minneapolis in 2002, the work is presented first in explanatory essays by Andrew Wilton of the Tate and Tim Barringer of Yale's Art Department. Then follow 99 gorgeous full-color plates, several as double foldout pages. Many of the ten artists whose works are included here are familiar: Cole, Heade, Church, Bierstadt. Some are less so: Durand, Cropsey, Moran. Most have been dubbed members of the "Hudson River School." As the authors note, however, they have all demonstrably contributed to an artistic vision of the sublime, a sense of untouched Eden, of the "wildness" of a wilderness not quite yet invaded by American mechanization. Their images of the American landscape helped to create an idea of nationhood, a sense of the greatness of the continent. Highly recommended for all levels. KLIATT Codes: JSA—Recommended for junior and senior high school students, advanced students, and adults. 2002, Princeton Univ. Press, 282p. illus. notes. bibliog. index., Ages 12 to adult.
—Patricia Moore
Library Journal
The Hudson River School and their successors were the first American artists to create a specifically "American" type of artwork an artwork that celebrated the awe-inspiring panoramas of the untamed American landscape and incorporated deep feelings of national identity. This catalog accompanies an exhibition that travels both to Great Britain and to the United States and includes over 113 stunningly dramatic and truly "sublime" American landscapes. The book is divided into eight thematic sections and includes two scholarly essays. In the first, Barringer (history of art, Yale) compares the tradition of landscape painting in America and Britain, while in the second, Wilton (senior research fellow, Tate Gallery, London) explores the concept of the sublime and the formation of a pictorial language that Americans would come to embrace and identify as uniquely their own. While the essays and catalog entries are well written and informative, providing a geographic and historical context for the artwork, it is the stunning illustrations (including several two-page foldouts) that dazzle the eye and imagination. Recommended for all libraries. Kraig Binkowski, Delaware Art Museum, Wilmington Copyright 2002 Cahners Business Information.
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Product Details

  • ISBN-13: 9780691115566
  • Publisher: Princeton University Press
  • Publication date: 7/2/2003
  • Edition description: New Edition
  • Edition number: 1
  • Pages: 256
  • Product dimensions: 9.67 (w) x 11.71 (h) x 0.81 (d)

Table of Contents

Foreword 7
Acknowledgements 9
The Sublime in the Old World and the New 10
The Course of Empires: Landscape and Identity in America and Britain, 1820-1880 38
1 Wilderness 66
2 The Course of Empire 86
3 The Still Small Voice 114
4 'Awful Grandeur' 132
5 Painting from Nature 156
6 A Transcendental Vision 186
7 Explorations 216
8 The Great West 228
Biographies of the Artists 252
Notes 262
Bibliography 272
Lenders and Credits 278
Index 279
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Sort by: Showing 1 Customer Reviews
  • Anonymous

    Posted December 11, 2003

    Hudson River School, Live, in Color

    American Sublime, Landscape Painting in the United States, 1820-1880 sets the high water mark for exhibition catalogs or books on the topic with its 113 sparkling color plates of Hudson River works. When the Tate Gallery hung the exhibit 'American Sublime', the New York Times gushed that American Landscape painting, 'Once the Rodney Dangerfield of the art world...' had earned its place of deserved respect in the annals of world art history. These bold, images by Durand, Church, Gifford, Cropsey and others elicit an emotional response with their intensely colorful and detailed landscapes. As a collector of and enthusiast for White Mountain School works by these same artists I am really pleased with the inclusion of some of the best New Hampshire paintings in the book. Doug Nelson Rye Beach, New Hampshire 12 December 2003

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