COLLECTION NAME:
Visual Resources Teaching Collection
mediaCollectionId
ArtArtHiAAH~7~7
Visual Resources Teaching Collection
Collection
true
Image Record ID:
aahi0000358
image_record_id
aahi0000358
Image Record ID
false
Work Title (display):
Sketch: Mount Desert, Maine
Image Title:
full view
Work Dates (display):
1864
Work Dates type:
creation
Work Creator (display):
Sanford Robinson Gifford (American, 1823-1880)
Work Creator gender:
male
work_creator_or_agent_gender
male
Work Creator gender
false
Work Creator notes (display):
American painter. He grew up in Hudson, NY, and attended Brown University between 1842 and 1844. He moved to New York in 1845 and studied with the British watercolourist and drawing-master John Rubens Smith (17751849), who probably taught him portraiture and topographical rendering. Gifford also enrolled in figure drawing classes at the National Academy of Design and attended anatomy lectures at the Crosby Street Medical College. After a year studying the human figure, he decided to specialize in landscape painting. An admirer of the work of Thomas Cole, he took a sketching trip during the summer of 1846 and visited some of that artist's haunts in the Berkshire and Catskill Mountains. Gifford's earliest works show the combined influence of Cole's style and his own nature studies (e.g. Summer Afternoon, 1853; Newark, NJ, Mus.). He first exhibited his work at the National Academy of Design in 1847, the same year the American Art-Union accepted one of his landscapes for distribution through engraving to its members. The next year the Art-Union showed eight of Gifford's canvases. The National Academy elected him an associate in 1851 and an academician in 1854. Like most American landscape painters of his day, Gifford decided to supplement his training with European travel, and he left for England in 1855. There he studied the work of Turner and Constable. That autumn he went to France and spent over a year studying in Paris, Fontainebleau and Barbizon, where he was strongly impressed with the work of Jean-François Millet. Before returning home, he toured Germany, Switzerland and Italy, where Albert Bierstadt joined him. Paintings from this trip, such as the Lake of Nemi (18567; Toledo, OH, Mus. A.), reveal his departure from the dark hued, meticulous compositions of his Hudson river school predecessors, such as Cole, in favour of landscapes painted with barely noticeable brushstrokes and bathed in light that diffuses topographical detail. In the autumn of 1857 Gifford took a studio at the Tenth Street Studio Building in New York, where he painted for the rest of his life. On his annual summer trips, usually with fellow landscape painters, to the Catskills, the Adirondacks and a great variety of scenic locations in Maine, New Hampshire and Vermont, he made pencil sketches that he later developed into oil paintings. He favoured the Catskills and produced numerous paintings of the area. Kauterskill Clove (1862; New York, Met.; see fig.) is one of his finest works and shows the successful culmination of his experiments with the dissolution of form in atmospheric light. While serving in the Civil War, he produced such works as Bivouac of the Seventh Regiment at Arlington Heights, VA (1861; New York, Seventh Regiment Armory), in which his fascination with effects of light is equally apparent. Between summer 1868 and autumn 1869 Gifford visited Italy, Greece, Egypt, Syria, Jerusalem and other countries in the Near East. This trip inspired many of his later paintings, for example the Ruins of the Parthenon, 1868 (1880; Washington, DC, Corcoran Gal. A.). Shortly after his return, he accompanied Worthington Whittredge and John Frederick Kensett to the Rocky Mountains and continued on to Wyoming with Ferdinand V. Hayden's survey expedition. He travelled in the western USA, British Columbia and Alaska in 1874. He died six years later of pneumonia, after a trip with his wife to Lake Superior. In 1881 the Metropolitan Museum of Art in New York mounted a large memorial exhibition of Gifford's work, accompanied by a catalogue listing 739 of his paintings, which confirmed his position as a major member of the second generation of the Hudson River school. He has subsequently been seen as an important exponent of Luminism (i). (Grove Art Online Accessed 2006-07-26)
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:
Maine (state)
subject
Maine (state)
Work Subject
false
Work Subject:
water
subject
water
Work Subject
false
Work Subject:
mountains
subject
mountains
Work Subject
false
Work Subject:
rocks
subject
rocks
Work Subject
false
Work Subject:
trees
subject
trees
Work Subject
false
Work Subject:
landscapes (representations)
subject
landscapes (representations)
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):
17.8 cm (H) x 30.5 cm (W)
Work Location (Repository or Site) name:
North Carolina Museum of Art
Work Location (Repository or Site) role:
repository
Work Location (Repository or Site) refid:
72.1.7
Work Location (Repository or Site) refid type:
accession
Work Location (Geographic) name:
Raleigh, North Carolina
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