COLLECTION NAME:
Visual Resources Teaching Collection
mediaCollectionId
ArtArtHiAAH~7~7
Visual Resources Teaching Collection
Collection
true
Image Record ID:
aahi0008330
image_record_id
aahi0008330
Image Record ID
false
Work Title (display):
Ideal Landscape: Homage to Thomas Cole
Image Title:
full view, grayscale image
Work Dates (display):
1850
Work Dates type:
creation
Image Date (display):
2011-06-29
Work Creator (display):
Jasper Francis Cropsey (American, active USA, Italy, England; 1823-1900)
Work Creator gender:
male
work_creator_or_agent_gender
male
Work Creator gender
false
Work Creator notes (display):
American painter and architect. He was a practising architect by 1843, but in that year he also exhibited a landscape painting, to favourable reviews, at the National Academy of Design, in New York. He greatly admired Thomas Cole for his dramatic use of the American landscape, but Cropsey brought to his panoramic vistas a more precise recording of nature, as in View of Greenwood Lake, New Jersey (1845; San Francisco, CA, de Young Mem. Mus.). Such vastness and detail impressed the viewer with both the grandeur and infinite complexity of nature and indicated a universal order. In 1847 Cropsey made his first trip to Europe, settling in Rome among a circle of American and European painters. His eye for detail in recording nature was encouraged by the Nazarenes, and his American sympathy for historical and literary subjects was sharpened by the antiquities of Italy. In 1848 Cropsey was in Naples, where the work of contemporary painters may have inspired the bold massing, deep space and brilliant lighting in View of the Isle of Capri (1848; New York, NY, Alexander Gal.) After his return to America in 1848, Cropsey painted landscape subjects, including a keenly observed view of a serene and sun-drenched harvest scene, Bareford Mountains, West Milford, New Jersey (1850; New York, Brooklyn Mus. A.), and a dramatic thunderstorm and waterfall in Storm in the Wilderness (1851; Cleveland, OH, Mus. A.). He also painted canvases after sketches made in Europe, one of the largest being The Coast of Genoa (1854; Washington, DC, N. Mus. Amer. A.). The strain of idealism characteristic of America found expression in such allegories as Spirit of War (1851; Washington, DC, N.G.A.). Cropsey spent 1856 to 1863 in England, painting American and Italian subjects as well as the English landscape. He provided 16 scenes of America for lithography by Gambart & Co., drew the rugged coast at Lulworth, Dorset, and captured the charm of the Isle of Wight in Beach at Bonchurch (1859; Hastings-on-Hudson, NY, Newington Cropsey Found.). The detailed clarity and intense colour of the Pre-Raphaelites impressed Cropsey, and his inclination towards truth to nature was encouraged by his personal acquaintance with John Ruskin. Cropsey portrayed, for an enthusiastic English public, the blazing colours of New England autumn in the vast painting called AutumnOn the Hudson River (1860; Washington, DC, N.G.A.; see fig.). Returning to America in 1863, Cropsey repeated his success with such large, crisply drawn and vigorously painted scenes of America as Indian Summer (1866; Detroit, MI, Inst. A.). Many of his paintings were modest in size, peopled with boaters or fishermen, sharp in detail but with a serene, burnished, atmosphere, as in Autumn Greenwood Lake (1866; Hastings-on-Hudson, NY, Newington Cropsey Found.). During the 1860s and 1870s Cropsey became increasingly concerned with depicting the appearance of landscape strongly modified by sun and atmosphere. Air and light became chief elements in his Luminist pictures, such as Lake Wawayanda (1874; Amherst Coll., MA, Mead A. Mus.). Cropsey revived his architectural practice soon after 1863 and built his own house, Aladdin, Warwick, NY (completed by 1869), in a Gothic Revival style. His scheme (1867) for a five-storey apartment house was one of the first in America without shops on the ground floor. He also designed the 14 stations of New York's Sixth Avenue Elevated Railway (1876; destr. 1939), with much curving ironwork. In later years Cropsey turned increasingly to watercolour, often with highlights in white gouache and solidly painted darks. An inclination towards the dramatic and imaginative rather than the calm and lyrical is evident in such watercolours as Under the Palisades (c. 1891; San Francisco, CA, de Young Mem. Mus.). Despite the growing Tonalist concern for projection of individual temperament and the Impressionist preoccupation with perception of light in the second half of the 19th century, Cropsey's descriptive clarity, spirited handling of paint and expansive vistas brought great vigour to American painting. (Grove Art Online Accessed 2006-07-28)
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:
spirituality
subject
spirituality
Work Subject
false
Work Subject:
nature
subject
nature
Work Subject
false
Work Subject:
God (Christian), images of
subject
God (Christian), images of
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):
20.7 cm (H) x 31 cm (W)
Work Location (Repository or Site) name:
Collection Baron Thyssen-Bornemisza
Work Location (Repository or Site) role:
repository
Work Location (Geographic) name:
Lugano, Switzerland
Image Source Reproduction citation:
Pohl, Frances K. Framing America: A Social History of American Art. 2nd ed. New York, NY: Thames and Hudson, 2008. Print.
image_source_copy_from_print_name
Pohl, Frances K. Framing America: A Social History of American Art. 2nd ed. New York, NY: Thames and Hudson, 2008. Print.
Image Source Reproduction citation
false
Image Source Reproduction refid:
978-0-500-28715-6
Image Source Reproduction page number:
152
Image Source Reproduction plate-figure number:
3.15
Image Source Reproduction refid type:
ISBN
Image Rights (display):
© Collection Baron Thyssen-Bornemisza
Image Rights fair use checklist:
1) use of this image is for education and educational research; 2) access is restricted to University of Colorado and Auraria Higher Education Center communities; 3) the original photographer is credited if known; 4) the image is published; 5) the amount of the work in relation to the whole is needed for education or educational research; 6) the number of derivatives is the minimum required for education or educational research; 7) the image has not been found to be reasonably available for sale; 8) duplication of the image does not violate preexisting contracts.
Work Rights (display):
public domain
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Holding Institution:
University of Colorado at Boulder
Collection:
Art and Art History Visual Resources Collection
Collection info and contact:
For information about this collection, see