COLLECTION NAME:
Visual Resources Teaching Collection
mediaCollectionId
ArtArtHiAAH~7~7
Visual Resources Teaching Collection
Collection
true
Image Record ID:
aahi0000424
image_record_id
aahi0000424
Image Record ID
false
Work Title (display):
The St. Croix River near Robbinston
Image Title:
full view
Work Dates (display):
1835
Work Dates type:
creation
Work Creator (display):
Thomas Doughty (American, 1793-1856)
Work Creator gender:
male
work_creator_or_agent_gender
male
Work Creator gender
false
Work Creator notes (display):
American painter. Doughty belonged to the generation of American landscape painters that included Thomas Cole and Asher B. Durand and was an important precursor of the Hudson river school. Basically self-taught, he worked as a leather currier in Philadelphia, PA, before becoming an artist. In 1816 Doughty exhibited LandscapeOriginal (untraced) at the Pennsylvania Academy of the Fine Arts. Four years later he listed himself in the Philadelphia directory as a landscape painter. Old Master landscapes (or copies) exhibited at the Pennsylvania Academy, together with contemporary European paintings and compositions by fellow Philadelphians Thomas Birch and Joshua Shaw, access to major private collections (such as those of his patron Robert Gilmor jr of Baltimore, MD, and Joseph Bonaparte of Bordentown, NJ), engravings and artists' manuals all contributed to his knowledge of the European landscape tradition. Among Doughty's earliest surviving landscapes are View of Baltimore from Beech Hill, the Seat of Robert Gilmor jr (1822; Baltimore, MD, Mus. A.) and Landscape with Pool (c. 1823; Philadelphia, PA Acad. F.A.), which show his mastery of atmospheric effects and command of his medium. They also reveal in their Claudean compositions the artist's familiarity with the then popular aesthetic of the Picturesque. Although Doughty occasionally depicted cityscapes (e.g. View of the Waterworks on the Schuylkill, 1826; priv. col., see 1973 exh. cat., no. 7), he is best known for his romantic interpretations of Sublime American scenery, which were often poetic evocations rather than faithful portraits of specific places (e.g. On the Beach, 18278; Albany, NY, Inst. Hist. & A.) A frequent exhibitor at the Pennsylvania Academy, Doughty was elected an Academician in 1824. He also showed regularly in New York and Boston. The works he created during the 1820s are considered to be among his finest. They document his travels along the Eastern seaboard in search of Picturesque and Sublime subjects and include sites in New York, Massachusetts and Connecticut as well as Pennsylvania and Delaware. During the 1830s Doughty lived for periods in Boston, Philadelphia and New York. In 1835 he painted In Nature's Wonderland (1835; Detroit, MI, Inst. A.), one of his most affecting compositions and the embodiment of the romantic aesthetic in its depiction of the solitary hunter standing in awe of nature's grandeur. In 1837 Doughty made his first trip to Europe. The so-called Tintern Abbey (c. 1838; Washington, DC, Corcoran Gal. A.), although similar in composition to In Nature's Wonderland, shows the impact of this English sojourn not only in the choice of subject (a Gothic ruin in a moonlit landscape) but also in its painterly style and tonal handling of colour. Doughty travelled even more frequently in the 1840s, as he tried to make a living from his art at a time when Cole, Durand and other younger artists were in the ascendancy. After a second trip to Britain and the Continent in the mid-1840s, he settled in Manhattan, where he remained until his death, except for brief stays in upstate New York and New Jersey. The final years of Doughty's life were marred by a decline in his health, reputation and income. Although he was still capable of producing an effective work such as Autumn on the Hudson (c. 1850; Washington, DC, Corcoran Gal. A.), the paintings from late in his career generally show a deterioration in his abilities. Nevertheless, his life-time's contribution to the development of American landscape was substantial. (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:
ships
subject
ships
Work Subject
false
Work Subject:
trees
subject
trees
Work Subject
false
Work Subject:
rivers
subject
rivers
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):
45.7 cm (H) x 61 cm (W)
Work Location (Repository or Site) name:
M.H. De Young Memorial Museum
Work Location (Repository or Site) role:
repository
Work Location (Repository or Site) refid:
54824
Work Location (Repository or Site) refid type:
accession
Work Location (Geographic) name:
San Francisco, California
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