COLLECTION NAME:
Visual Resources Teaching Collection
mediaCollectionId
ArtArtHiAAH~7~7
Visual Resources Teaching Collection
Collection
true
Image Record ID:
aahi0000465
image_record_id
aahi0000465
Image Record ID
false
Work Title (display):
Winter, Close of Day
Image Title:
full view
Work Dates (display):
1866
Work Dates type:
creation
Work Creator (display):
George Inness (American, 1825-1894)
Work Creator gender:
male
work_creator_or_agent_gender
male
Work Creator gender
false
Work Creator notes (display):
American painter. He grew up in Newark, NJ, and New York City, and received his first artistic training with John Jesse Barker ( fl 181556), an itinerant artist claiming to be a student of Thomas Sully. Between 1841 and 1843 Inness was apprenticed to the engravers Sherman & Smith in New York. More significant was his study in 1843 with Régis-François Gignoux, a student of Paul Delaroche and a recent immigrant from France, whose landscapes were delicate and sweet. Though Gignoux seems to have had little influence on the development of Inness's style, the Frenchman did provide him with a knowledge of European masters. Inness's early attraction to the Old Masters, especially to Claude Lorrain, is evident in his landscapes of the 1840s, and it prompted him to visit Italy in 18512. His Bit of the Roman Aqueduct (c. 1852; Atlanta, GA, High Mus. A.) is especially derivative of Claude in its classical composition and descriptive details. In 1853 Inness returned to Europe for two years. In France he was impressed by the Barbizon school of landscape painting which had a decisive influence on his art. The Barbizon style became pronounced in his work after 1860 when he moved from New York, home to the dominant Hudson River school of landscape painting, to Medfield, MA, a village where he could work in isolation. Pictures such as Clearing up (1860; Springfield, MA, Smith A. Mus.; see fig.) have the sketch-like brushwork, loosely structured composition and rustic themes associated with the Barbizon work of Théodore Rousseau. Inness travelled to Europe a third time in 1870, settling in Rome, where he painted The Monk (1873; Andover, MA, Phillips Acad., Addison Gal.). With its ambiguous spaces, enigmatic theme and brooding colours enlivened with chromatic flourishes, it is the most avant-garde American painting of the 1870s. On his return to America in 1875, Inness worked for a while in New Hampshire, where he painted such pictures as Saco Ford: Conway Meadows (1876; South Hadley, MA, Mount Holyoke Coll. A. Mus.), which shows a heightened confidence in the use of swirling, textured brushwork and a temporary concern for the majesty of open spaces. Beginning in the late 1870s Inness turned to the thoughtful, personal, non-topographic landscapes that are the trademark of his late style. In many respects these landscapes were the result of his religious beliefs. As early as the mid-1860s, when he was living at Eagleswood, NJ, the site of the Raritan Bay Union utopian community, Inness began to study spiritualism. Spurred by Marcus Spring, leader of the Eagleswood community, and by the painter William Page, he became a disciple of the teachings of Emanuel Swedenborg (1688-1772). Believing that all material objects were spiritually charged and that the earthly realm was continuous with the heavenly, Inness arrived in the late 1870s and 1880s, after years of effort, at a uniquely spiritual imagery. Though still derived from Barbizon painting, Inness's late work is an effort to convert Swedenborgianism into art. Travelling between Montclair, NJ, his permanent home after 1878, and seasonal retreats in California, Florida and Nantucket, MA, where he went to improve his chronically poor health, he painted highly moving, personal pictures. In Niagara Falls (1893; Washington, DC, Hirshhorn) he depicted the Falls dissolved in mists of iridescent colour, in contrast to the highly representational Hudson River style in which it had traditionally been painted, for instance by Frederic Church (1857; Washington, DC, Corcoran Gal. A.). Instead of conveying Church's image of power, Inness's Niagara Falls expresses a brooding inner passion through heavy paint surfaces and dematerialized forms. In Home of the Heron (1893; Chicago, IL, A. Inst.) Inness constructed a twilight world of hazy forms cast halfway between substance and nothingness. Space and detail were virtually eliminated in favour of a flat and indistinct landscape of softly vibrating colours and gauzy paint surfaces. Though there is nothing in Swedenborg's writings to account for Inness's late imagery in a specifically iconographic way, pictures like this are redolent of the 'correspondence' Swedenborg claimed existed between the material and the spiritual worlds. Inness's early works received mixed critical reviews. In the 1840s and 1850s he was often criticized for not adhering to the prevailing taste for the Hudson River school. Instead of imitating nature, the critics claimed, Inness was imitating art. Though Hudson River painters such as Asher B. Durand were equally influenced by Claude, in the critics' eyes Inness made the act of imagination unacceptably overt by stressing broad handling of paint, eccentric colours and palpable atmosphere. Nonetheless, Inness's early pictures were promoted by George Ward Nichols (183185), a devotee of French art and the owner of the Crayon Gallery in New York. Inness's early patrons included Ogden Haggerty, who financed his first trip to Europe, and the Rev. Henry Ward Beecher (181387). The critical response to Inness's art improved greatly during the 1880s and 1890s, though the American Pre-Raphaelites, led by the critic Clarence Cook, condemned his lack of interest in replicating nature. In his later years Inness attracted the attention of Thomas B. Clarke, the leading collector of American art, who purchased works by Inness. (Grove Art Online Accessed 2006-07-26)
Work Style Period:
Tonalist
work_styleperiod
Tonalist
Work Style Period
false
Work Style Period:
Barbizon School
work_styleperiod
Barbizon School
Work Style Period
false
Work Style Period:
Hudson River school of landscape painting
work_styleperiod
Hudson River school of landscape painting
Work Style Period
false
Work Style Period:
19th century
work_styleperiod
19th century
Work Style Period
false
Work Subject:
winter
subject
winter
Work Subject
false
Work Subject:
landscapes (representations)
subject
landscapes (representations)
Work Subject
false
Work Subject:
sunset
subject
sunset
Work Subject
false
Work Worktype:
oil paintings
work_type
oil paintings
Work Worktype
false
Work Worktype:
paintings (visual works)
work_type
paintings (visual works)
Work Worktype
false
Work Category (VRC classification):
paintings
work_category__ucbaahvrc_classification_
paintings
Work Category (VRC classification)
false
Work Material and Technique (display):
oil on canvas
Work Measurements (display):
56 cm (H) x 77.7 cm (W)
Work Location (Repository or Site) name:
Cleveland Museum of Art
Work Location (Repository or Site) role:
repository
Work Location (Repository or Site) refid type:
accession
Work Location (Geographic) name:
Cleveland, Ohio
Image Rights (display):
© Ronald Wiedenhoeft. Licensed for educational use via Scholars Resource: Saskia, Ltd.
Image Rights license agreement:
SASKIA, LTD.: WHO CAN USE THIS SOFTWARE: (a) Licensee, including faculty, staff and currently enrolled students may use the Licensed Software to display and or print the corresponding graphic images without limitation for teaching and research purposes at the defined Sites, or at remote locations having electronic access to your Site(s). (b) This license include permission to use the Licensed Software on a multi-user network at the defined Site, and to permit remote access to a computer/server located at your Site. Simultaneous display in multiple locations at or connected to the Site is also permitted. (c) Licensee agrees to employ reasonable security measures designed to limit access to your faculty, staff and currently enrolled students. PROHIBITED USES AND LIMITATIONS: (a) Saskia hereby reserves all rights not expressly granted herein. (b) the License Software may not be used for preparaiton of any publication, scholarly or otherwise; or for any purpose other than teaching or research. Publication of an image from the Licensed Software requires a separate license from Saskia. (c) Licensee agrees not to resell, lease, transfer, sub-license or otherwise distribute a copy of the Licensed Software, or any image taken from the Licensed Software, in whole or in part. (d) Licensee also agrees not to modify, corrupt or alter any digital image graphic content or "digital watermark" or the like in the software provided by Saskia under this Agreement. (e) Licensee agrees not to remove, alter, cover or distort Saskia's copyright notice, trademark, or other proprietary rights notice placed by Saskia in the Licensed Software itself, or in the associated packaging, media or documentation. (f) And Licensee agrees to notify users of the Licensed Software, in writing or by sign-on screen display, of their obligations under this Agreement and solicit their cooperation and compliance with such obligations.
Work Rights (display):
public domain
Terms of Agreement and Conditions of Use:
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Holding Institution:
University of Colorado at Boulder
Collection:
Art and Art History Visual Resources Center
Collection info and contact:
For information about this collection, see