Research Paper on "Eighteenth and Nineteenth Centuries Period"

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[EXCERPT] . . . .

Eighteenth and nineteenth centuries, artists were concentrating on a number of objectives in being able to effectively express their ideas. This is based upon utilizing techniques from the past and incorporating them with new ideas in the future. To fully understand how these ideas are incorporated requires examining different works from the period. This will be accomplished by focusing on: Peaceable Kingdom, View from Mount Holyoke, Kindred Spirits, The Veteran in a New Field and John Biglin in a Single Scull. Together, these paintings will highlight the overall influences of the various artists.

Peaceable Kingdom, Edward Hicks, 1830, Internet http://www2.gol.com/users/quakers/Hicks_Peaceable_Kingdom.htm (Broastoski)

The iconography is showing a cow, lion, a leopard and angels inside the Garden of Eden. This is represented in the foreground. In the background is a picture of Americans who are talking with the Indians. These are symbolic representations of God approving of events that occurred in American history. The materials that were used to make the work were a traditional paint brush and various colors. The most notable include: brown, beige, tan and green. It was constructed based upon the views of Hicks using his imagination and opinions of the world around him. (Broastoski)

The formal elements are illustrating how he took a conservative approach when constructing this painting. This occurred through creating lines that were parallel to each other. The colors were darker which were contrasted with lighter tones. The spacing was larger images in the forefront with smaller views in the background. The lighting is darker in the foreground and it be
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comes much brighter as it moves towards the backdrop. The texture is of a smooth surface which is combined with rough edges at contrasting points. The patterns are showing larger images at the foreground and then becoming smaller as the painting moves away from them. These elements are used to show an emphasis on religious theology in contrast with historical and contemporary events at the time. The balance, scale / proportion, repetition / rhythm, unity and variety are all concentrating on meeting these larger objectives. Hicks used a traditional paint brush and canvas to construct the work. It was created using previous views of the Garden of Eden and his beliefs of what happened at different events. This is revealing support of various ideas in American history. Yet, it is also highlighting a criticism of society by demonstrating how Quakers are becoming overly influenced from the world around them. (Broastoski)

View from Mount Holyoke, Northampton, Massachusetts, after a Thunderstorm the Oxbow, Thomas Cole, 1836, Internet http://www.metmuseum.org/toah/works-of-art/08.228 ("View from Mount Holyoke")

The image is a picture of Mount Holyoke looking down at a river valley. It is a picturesque view of American landscape. This is a representation of the lack of appreciation for the natural beauty inside many areas. He used sketchbook drawings and annotations that are copied from other artists. There are dark colors in the foreground and lighter ones in the backdrop. The spacing / texture / pattern are used to show larger images in the forefront and smaller views of valley in the background. This follows a similar format for the spacing by illustrating contrasting views close up with smaller images further away. In this case, the principles of design that are most evident include: balance, scale, proportion, unity and variety. This is illustrated through showing how Cole wants to depict the actual scenery from the viewpoint of someone who is looking down at the river valley (as it appeared during his time). ("View from Mount Holyoke")

These elements are utilized to highlight the beauty of nature from a more neutral perspective. In this aspect, he is capturing the American landscape before the country went through rapid periods of expansion and industrialization. From a political and historical perspective, these insights are demonstrating something that is lost with the changes occurring from technological advancements. Socially, it is revealing how society is losing itself and their values because of these transformations. ("View from Mount Holyoke")

Kindred Spirits, Asher B. Durand, 1849, Internet, http://www.metmuseum.org/toah/works-of-art/L.2008.21 ("Kindred Spirits")

The image is of two individuals who are standing on ledge overlooking the Hudson River in upstate New York. It is a representation of the beauty of nature and its lasting effects on Durand. To complete the work the artist used a canvas, natural colors and a paint brush. It was constructed based on images he observed. The line, space and texture are of rugged edges that exist in the setting. The utilization of light colors is highlighting the natural setting of the sun and dark ones are used to contrast images of the shade. This establishes a sense of balance, scale, proportion, unity and variety. At the same time, there is a sense of rhythm based upon the natural images and how they are interacting with each other. ("Kindred Spirits")

These elements are placed into context to illustrate how these images existed in 1849. This is providing a greater historical and ideological view by demonstrating the way nature must be protected. At the same time, the work is underscoring how economics and political changes are being lost from the rapid industrialization of the country. From a social perspective, this is telling everyone that they must be aware of these changes and ensure that these views are continually protected. Otherwise, there is a possibility that future generations will lose something which cannot be appreciated and admired. ("Kindred Spirits")

The Veteran in a New Field, Winslow Homer, 1865, Internet http://www.metmuseum.org/toah/works-of-art/67.187.131 ("The Veteran in a New Field")

This is showing a farmer who is working in field after the end of the Civil War. It is identifying the changes that took place at the time, with more people being forced to return to their former lives (despite the transformations that are occurring). The basic materials that were used include: a paint brush and canvas. The artist created this portrait by watching and observing what was happening to everyone. The line, texture and patterns are illustrating a natural setting with the farmer returning to his former occupation. To highlight these images lighter colors of blue, yellow and brown are utilized. The spacing is showing a sense of closeness with the farmer being one with the gain and continually working with it. This creates balance, proportion, scale, rhythm and unity. There is a lack of variety by showing this person performing the same kind of tasks over and over again. ("The Veteran in a New Field")

At the same time, the work is highlighting the historical perspectives by illustrating what life was like immediately after the end of the Civil War. Politically, it is showing the dark Union jacket and tool the farmer is using. This is demonstrating the sense of carnage that occurred from these events. Economically and ideologically, it is illustrating how these transformations are occurring with nation becoming more industrialized. While at the same time, it is highlighting how these changes are creating shifts in society with most people being forced to make these adjustments over the long-term. Socially, this is showing a sense of loss from the war and Lincoln's death in the same year. ("The Veteran in a New Field")

John Biglin in a Single Scull, Thomas Eakins, 1873, Internet http://www.metmuseum.org/toah/works-of-art/24.108 ("John Biglin in a Small Skull")

The image in this painting is showing an individual who is rowing boat on the water. This is a representation of one of the many activities people in the Northeastern United States will perform competitively (i.e. rowing). The basic materials that were used in the process include: a canvas, paint brush and natural colors. It was constructed based upon Eakins observations of everyday activities that someone is involved in. The line, texture and space are showing the subject in a larger context. While the background, is represented in much smaller contrast.… READ MORE

Quoted Instructions for "Eighteenth and Nineteenth Centuries Period" Assignment:

Art History: The Visual Record

VISUAL HISTORY TIMELINE

Investigate the artworks produced during The Eighteenth and Nineteenth Centuries period, of the five works of art created that are listed below. Explore all of the elements covered in the text book A World of Art, by Henry M. Sayre (Chapter 20)

For each of the five works of art listed below, write 200 words answering the following questions:

Title of Artwork

Artist, Date

Medium

Image or Link to an Image

Iconography

-W hat do you see? What is the subject matter?

- Identify the symbolic representations.

Medium and Technique

-What materials did the artist use to make the artwork?

- How did the artist construct it?

Formal Elements

-Observe and describe the line, color, space, light, texture, and pattern.

-What principles of design are evident? Explore balance, scale and proportion, repetition and rhythm, unity and variety.

Content

-Place the object in context.

-Identify the historical, political, social, economic, and ideological conditions of the era.

-Explain what the work of art means. What does it reveal about the society in which it was created?

Using MLA format.

Must use in-text citations and provide a list of Works Cited.

There should be at least 3 sources, not including your text.

The focus for each artwork will be content. (The focus for each artwork will be content. Provide a visual history of The Eighteenth and Nineteenth Centuries period.)

Useful links

http://www.artcyclopedia.com/

http://wi`tcombe.sbc.edu/ARTHLinks.html

http://www.artcyclopedia.com/museums-us.html

Peaceable Kingdom, ca. 1830*****32

Edward Hicks (American, 1780*****1849)

Oil on canvas

17 7/8 x 23 7/8 in. (45.4 x 60.6 cm)

Gift of Edgar William and Bernice Chrysler Garbisch, 1970 (1970.283.1)

ON VIEW: GALLERY 757 Last Updated March 21, 2013

Edward Hicks, a Quaker preacher and sign painter, painted approximately sixty versions of the Peaceable Kingdom. The painting represents the messianic prophecy of Isaiah 11:6: "The wolf also shall dwell with the lamb, and the leopard shall lie down with the kid; and the calf and the young lion and the fatling together; and a little child shall lead them." The presence of additional animals and children on the left is due to Hicks' inclusion of the seventh and eighth verses. Hicks derived the composition, a popular nineteenth-century Bible illustration, from an engraving after a drawing by the English artist Richard Westall. The theme of a peaceable community of animals was one often used as a political metaphor, and was adapted by Hicks himself. The artist sometimes included scenes of Penn's treaty with the Indians, intending Penn's flock to stand as a sort of partial fulfillment of the biblical prophecy.

View from Mount Holyoke, Northampton, Massachusetts, after a Thunderstorm*****The Oxbow, 1836

Thomas Cole (American, 1801*****1848)

Oil on canvas

51 1/2 x 76 in. (130.8 x 193 cm)

Gift of Mrs. Russell *****, 1908 (08.228)

ON VIEW: GALLERY 759 Last Updated March 21, 2013

Long known as The Oxbow, this work is a masterpiece of American landscape painting, laden with possible interpretations. In the midst of painting The Course of Empire (New-York Historical Society), Cole mentioned, in a letter dated March 2, 1836, to his patron Luman Reed, that he was executing a large version of this subject expressly for exhibition and sale. The picture was shown at the National Academy of Design in 1836 as View from Mount Holyoke, Northampton, Massachusetts, after a Thunderstorm. Cole's interest in the subject probably dates from his 1829*****32 trip to Europe, during which he made an exact tracing of the view published in Basil Hall's Forty Etchings Made with the Camera Lucida in North America in 1827 and 1828. Hall criticized Americans' inattentiveness to their scenery, and Cole responded with a landscape that lauds the uniqueness of America by encompassing "a union of the picturesque, the sublime, and the magnificent." Although often ambivalent about the subjugation of the land, here the artist juxtaposes untamed wilderness and pastoral settlement to emphasize the possibilities of the national landscape, pointing to the future prospect of the American nation. Cole's unequivocal construction and composition of the scene, charged with moral significance, is reinforced by his depiction of himself in the middle distance, perched on a promontory painting the Oxbow. He is an American producing American art, in communion with American scenery. There are both sketchbook drawings with annotations and related oil sketches of this subject. Many other artists copied or imitated the painting.

Kindred Spirits, 1849

Asher B. Durand (American, 1796*****1886)

Oil on canvas

Courtesy Crystal Bridges Museum of American Art, Bentonville, Arkansas (L.2008.21)

Kindred Spirits is the quintessential Hudson River School landscape. Its subjects are Thomas Cole (with portfolio), the founding father of the school, and William Cullen Bryant, the well-known nature poet and editor. The men stand on a ledge in one of the cloves, or gorges, of the Catskill Mountains, the source of the landscapes that made Cole famous and continued to inspire his followers. Durand was Cole's earliest disciple and a close friend of Bryant, and executed this picture at the request of Jonathan Sturges, a patron of both artists. Sturges gave the painting to Bryant in honor of the eulogy the poet delivered at the memorial service for Cole, who died in February 1848. Invoking a phrase from John Keats's seventh sonnet, "O Solitude," Sturges asked Durand to portray Cole and Bryant together as "kindred spirits" in the landscape. Accordingly, Durand adjusted his fastidious approach to natural forms, such as the rocky ledge and overhanging tree limbs, to suggest Keats's poetic references to "nature's observatory" and "boughs pavillion'd." Aside from its historical significance, the painting embodies the marriage of naturalism and idealization central to Hudson River School aesthetics.

The Veteran in a New Field, 1865

Winslow Homer (American, 1836*****1910)

Oil on canvas

24 1/8 x 38 1/8 in. (61.3 x 96.8 cm)

Bequest of Miss Adelaide Milton de Groot (1876*****1967), 1967 (67.187.131)

NOT ON VIEW Last Updated March 21, 2013

Painted through the summer and fall of 1865, not long after the nation came to grips with Robert E. Lee's surrender and mourned President Lincoln's assassination*****both of which occurred during the second week of April*****Homer's canvas shows an emblematic farmer who is a Union veteran, as is signified by his discarded jacket and canteen at the lower right. The painting seems to blend several related narratives. Most soldiers had been farmers before the Civil War. This man, who has returned to his field, holds an old-fashioned scythe that evokes the Grim Reaper, recalls the war's harvest of death, and expresses grief upon Lincoln's murder. The redemptive feature is the bountiful wheat*****a Northern crop*****which could connote the Union's victory. With its dual references to death and life, Homer's iconic composition offers a powerful meditation on America's sacrifices and its potential for recovery.

John Biglin in a Single Scull, ca. 1873

Thomas Eakins (American, 1844*****1916)

Watercolor on off-white wove paper

19 5/16 x 24 7/8 in. (49.2 x 63.2 cm)

Fletcher Fund, 1924 (24.108)

NOT ON VIEW Last Updated March 21, 2013

In 1873, when Eakins began painting watercolors for exhibition, he took up sporting scenes. This sheet is a replica of a watercolor (Yale University Art Gallery) that he sent to his Parisian teacher, Jean-Léon Gérôme, for criticism. His master wrote, "Your watercolor is entirely good and I am very pleased to have in New York a pupil such as you who does me honor."

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