COLLECTION NAME:
Visual Resources Teaching Collection
mediaCollectionId
ArtArtHiAAH~7~7
Visual Resources Teaching Collection
Collection
true
Image Record ID:
aahi0000078
image_record_id
aahi0000078
Image Record ID
false
Work Title (display):
Eagle Cliff, Franconia Notch, New Hampshire
Image Title:
full view
Work Dates (display):
1858
Work Dates type:
creation
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:
pastoral
subject
pastoral
Work Subject
false
Work Subject:
agriculture
subject
agriculture
Work Subject
false
Work Subject:
farmhouses
subject
farmhouses
Work Subject
false
Work Subject:
homesteads
subject
homesteads
Work Subject
false
Work Subject:
farms
subject
farms
Work Subject
false
Work Subject:
houses
subject
houses
Work Subject
false
Work Subject:
children (people by age group)
subject
children (people by age group)
Work Subject
false
Work Subject:
New Hampshire (state)
subject
New Hampshire (state)
Work Subject
false
Work Subject:
mountains
subject
mountains
Work Subject
false
Work Subject:
trees
subject
trees
Work Subject
false
Work Subject:
landscapes (representations)
subject
landscapes (representations)
Work Subject
false
Work Subject:
families (kinship groups)
subject
families (kinship groups)
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 Location (Repository or Site) name:
North Carolina Museum of Art
Work Location (Repository or Site) role:
repository
Work Location (Repository or Site) refid:
52.9.9
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:
YOU AGREE: Luna Imaging's Insight Software and the digital image collection associated with it (the Software) are being provided by the University of Colorado under the following license. By obtaining, using, and/or copying this work, you (the Licensee) agree that you have read, understood, and will comply with the following terms and conditions. 1. The Software contains the University of Colorado's Department of Art and Art History's implementation of a digital image collection; 2. Any images obtained through use of the Software will be used only for non-profit, educational purposes; 3. The use of images obtained through the software will only be used while the Licensee is either: a) an employee of the University of Colorado, Metropolitan State College of Denver, or the Community College of Denver, or b) an enrolled student at the University of Colorado, Metropolitan State College of Denver, or the Community College of Denver; 4. When the Licensee is no longer an employee or student of the University of Colorado, Metropolitan State College of Denver or Community College of Denver, either by an action of the University of Colorado, Metropolitan State College of Denver or the Community College of Denver or due to actions of the Licensee, the licensee will cease to use any images exported from the Department of Art and Art History's digital image collection; 5. The Licensee agrees to indemnify the University for claims and liability arising out of the use of the Software or for any violations of this license; 6. THE UNIVERSITY OF COLORADO SUPPLIES THE SOFTWARE WITHOUT ANY WARRANTIES, EXPRESS OR IMPLIED, INCLUDING ANY WARRANTY OF MERCHANTABILITY OR FITNESS FOR A PARTICULAR PURPOSE.
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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