ࡱ> M abjbj== "WW]l33333L244444444FLHLHLHLHLHLHL$M PLlL44444lL444L4444 44FL44FL44V:JFL44 @,J234 "KFLL0L6KeP4ePFL4Art History Transcendentalism (Latin = over passing) Movement centered in New England from 1836-1860 Reacting against organized religions of Calvinism Faith centered on divinity of nature and man Mystical aspects influenced by Eastern religions Novak, Nature and Culture 19th century unification of God and nature Nature worship of Emerson and Wordsworth Gods nature, God in Nature The new significance of nature coincided with the development of landscape painting and the destruction of the wilderness The Sublime Finding sublimity in silence **Kant applied it to natural cataclysms ( lightning, storms, mountains, waterfalls Kant = the sublime reflects the natural energies (35) New World v. Old World The nature of the new world exceeds the culture of the old Transcendentalists By going into nature and writing it, we create an original experience with itthus becoming closer to God. Painters too. But painters felt the need to demonstrate Gods presence. Gods encompassing purpose( divine evolution **official concerns of the age found their way into landscape painting. (67) Humboldt Exploration, exoticism, baroque energy and observation infused with flashes of transcendence Cosmos Nature is a free domain, and the profound conceptions and enjoyments she awakens within us can only be vividly delineated by thought clothed in exalted forms of speech, worthy of bearing witness to the majesty and greatness of creation (67) Landscapists Concern for creation ( need for a rhetoric/medium to express natures majesty Being and becoming(at the center of transcendentalism Live in the woods --solitude, gentle spirit (behind both NE and western exploration) Church and Biertsadt both respond with quiet images Aim: A solitary vision from a single, primal encounter with undefiled nature Nature can be read and interpreted as a Biblical text Middle-man of symbolism: Mountains dont represent the divine, they are the divine. (266) Universal question( Emersons serene, inviolable order Emerson could be considered the unofficial spokesman for landscapists Footnote(Emerson comments on nature and God are verbalizations of the ideas and feelings made manifest in the landscape paintings Unity of REAL and IDEAL Both landscapists and transcendentalists were products of American sent towards nature in the first half of the 19th century Emerson Nature -Those who came before beheld God and nature face to face; we through their eyes. (190) -We need to enjoy an original relationship to the universe call for religion through revelation nature is already, in its forms and tendencies, describing its own design (191) Philosophically = universe is composed of nature and the soul all that is separated from us, including both nature and art=Nature Chapter 1 The importance of solitudewe must retire from the chamber as well as society (191) If we saw nature/stars only once, we would be convinced of God Stars command reverence because although they are always present, theyre inaccessible All natural objects make a kindred impression, when the mind is open to their influence Nature(reflects wisdom but awakens the spirit of the child (few adults see nature No one owns the landscape The poet or the artist integrates all parts into the whole in the woods we return to reason and faith (193) the painter is Emersons transparent eyeball am nothing but see all the currents of the Universal being circulate through me Immanent God ( I am a part or a particle of God Noble want of man is served by nature, namely the love of beauty ** light is the first painter light makes things beautiful (196) Aspects of Beauty Simple perception of natural forms=delight He paints with words (p 196, 4th graph) (finds beauty in sunsets, evenings, shores Each moment of the year has its own beauty, must see each anew (197) (197 problem) Presence of a higher, namely of the spiritual element, is essential to its perfection (198) beauty as object of the intellect ( of beauty = taste (199) ( love in such excess, not content with just admiring, embody nature in new forms Creation of beauty= art Nature is perfect, harmonious = beauty Nothing is beautiful aloneonly in the whole Pg 200 Truth, goodness and beauty=different faces of the same All Chapter 4 Nature subserves man through language words are a sign of natural facts *Spirit means wind Natural facts are symbols of spiritual facts *ex. Lamb=innocence, river, in meditative hour, is the flux of all things *universal soul=truth, love, freedom, justice(when considered in relation to nature. Analogies are constant and pervade nature. When nature is related to man, it becomes the sublime. Simplicity, truth Nature is the symbol of the spirit Chapter 5 Against capital, property, debt Nature is true(tells man, through form, color and motion the laws of right and wrong, echo the 10 commandments (208) Nature is the ally of religion Prophets and priests (including Christ) have drawn deeply from this source Unity, circle Chapter 6 Idealism Nature and its permanence are important to man( allows us to have faith Nature is not more short lived or mutable than spirit (213) Man and nature are joined Culture Nature is made to conspire with spirit to emancipate us *** Perspective: change in it gives the whole world a pictorial air *** New perspectives and scenes please and surprise us Paintings suggest difference between man (observer) and nature (spectacle) -Pleasure mixed with awe -Low degree of the sublime Poet (artist) delineatesnot different from what we know them, but only lifted from the ground and afloat before the eye (214) Uses matter as symbol of heroic passion **(214-216) Bierstadt: sensual man(conforms thoughts to things Nature as rooted and fast Poet(conforms things to his thoughts, sees nature as fluid and impresses his being thereon Imagination(the use that Reason makes of the material world Emersonuses Shakespeare and the Tempest to show how nature responds to the control of the poet Beauty and Truth Human can penetrate nature A spiritual life is imparted to nature Nature can exist contrary to all experience (Immanence) No man touches (divine) nature w/o becoming divine himself Religion and ethics Suggests natures dependence on spirit Religion treads on nature (western landscapes imply heaven) All that is seen is temporal, all unseen is eternal Ideal theory (218) Chapter 7 Spirit Nature always speaks of spirit (219) (Immanence ** It suggests the absoluteit is a great shadow pointing always to the sun (god) behind us (Nature is always pointing to God and the sublime. It not just a symbol of spirituality, it reflects and possesses it. Image of Christ Nature=bended head, hands folded over breast ** The happiest man is he who learns from nature the lesson of worship (220) Thinks most, says least(solitude (220) On God in nature --See God ( nature stands as an apparition of God --Silence to worship(universal spirit speaks through it (Perfectness of nature) Spirit creates. Spirit is present. Supreme being not build up nature around us, but puts it forth through us Draw from the nature God gives us. --Through nature man has access to the Creator********** (221) Artist(soul cleansing it animates me to create my own world through the purification of my soul (221 Nature is not subject to the will of man its serene order is inviolable by us -it is the present expositor of the divine mind (221) Is not the landscape, every glimpse of which hath grandeur, a face of him? (221) Cant freely admire landscape if there are laborers digging nearby (Cole(civilizing forces) Chapter 8 Prospects There are more important qualities in a student than preciseness and infallibility *** sense of unity in landscape( interrelation (222) The invariable mark of wisdom is to see the miraculous in the common (226) 227 Bierstadt Art and Enterprise Developing an American Art much like Emerson with literature New England roots (Bedford, MA) Study in Germany (influence of Kant) Rocky Mt Trip pivotal provided critical visual and emotional experiences that launched career as artist-explorer (Romantic sublime (24) Large-scale scenerydramatic use/effect of light Spirit=divine light, mts East v. West Eventually chilly critical reception **Change in American tastes and attitude toward landscape painting Landers Peak p. 29 critic(Cook experience for the viewer=theatrical rather than aesthetic --journey through space and time ** remoteness of subject and sheer scale=power immature, pretentious attempt impossibilities popular but not well critically received paintings have a uniquely American subject p. 29 They do not appeal to the highest faculties of the mind; that is, they do not confront ones spiritual moods, not much genius (Churchimagination and genius) Landers Peak( Jarves concludes it was not indicative but superior to subsequent work ** are critics rejecting him or the American art movement? (p. 30) (30) He paints with ashes, with clay, with brimstone, but never with light??? decline in reputation(away from American style of descriptive realism change in meaning: from expansion to private poetry and subjective interpretation of nature (31) Painter as priest (or showman) 9are they different? --quasi-religious vocation free of worldly goals Jarves=sensational landscapes, emotionless, soulless (struggle for national commission (capitol) History Paintings (always viewed as higher brown than landscape) He had dinner with Longfellow in Europe (1867-1869) Awareness of transcendentalism Lobbyist, self promoter Pushed to be included Decline of American school (Morans work=different, better received in 70s) Swiss Alps(we had nothing like them. Rockies Constant comparison Bierstadt positive about them While some wanted factual info, Bierst. invented the Western American landscape by skillfully joining passages of carefully observed and meticulously rendered detail with freely configured compositions that met national needs (74) Landers Peak(find American equivalent for the European sublime American scene (75) Abt Church not an actual scene, but the subtle essence of many scenes combined into a typical picture (76) (less concerned with factual representation than presenting a notion of nature p. 76 Mountain Peak=Sublime, God Winthrop(snow, peak the sublimest of material objects and extolled the great white thrones of the Almighty that demand our worship for their sublimity (76) Yosemite Original site of the Garden of Eden (81) Ludlow (Not seeing a new scene on the old familiar globe, but a new heaven and a new earth into which the creative spirit had just been breathed (81) --No words to translate the scripture of Nature Review of Mt Hood (Eden Pastoral) Thankful for painting Enables us through it to testify to the greatness and the power of that being who Created it (85) --offered a national landscape for which there is no equivalent **Peace in answer to Civil War (Emerson) pg 88 Indians in picture=narrative element did he retain, as one critic questioned, those individual details which make up the truth og nature? (90) Yosemite picture(free of man Echoing, visually, the descriptions of FitzHugh Ludlow and others, Bierstadt offered a landscape that appeared to b fresh from the hand of God (91) Euro critic said it was a work of art not just a literal reproduction or nature Artist must employ all the resources possible to him(92) *No picture that we have ever seen has more entirely conveyed a sense of natural sublimity (92) !!Transcendental vocabulary (Bier. Wasnt trying to accurately portray western landscape but instead impose transcendental ideas onto natural pictures Ironically he took hold in Europe **Among Sierra** Important, fully constructed Possessed the poetic imagination necessary for landscape painter Combination of panorama and detail*** Surrounded by it, but step into then scene into nature!!!! pg 94 Walden Sierra( existed outside of time. Visual embodiment of the wilderness myth at the core of Americas definition of itself (94) (Supplied by transcendentalists Over time, the scenes changed 1881 Americas taste in landscape changesalso lit(realism critic in his later days, mere scenery has found its proper place (100) B dies 2/18/1902 in NY The most active element of the painting is light (97) America as pristine land, divinely favored (102) Read Letter!!!!! 307 Slides: Rocky Mt Landers Peak (Mt divine, use of light) Valley of Yosemite (divine light, garden of Eden) Looking down, 1865 Storm in Rockies, wrath, light Among Sierras(heaven, grandeur. Bierstadt, Baigell Just because he hung with the crowd doesnt lessen his appreciation for nature We know nothing of Bierstadts feelings about being in nature, although we must assume he took both physical and spiritual pleasure in it (page?) Letter to Crayon July 10, 1859 Pg 10-11 describing mountains The scenery might elevate the soul, but it provided no vehicle for transcendence (11) God=author (writers, scientists, explorers, artists=dissect his script carefully 11-Religion not unified them or organizing force for Biersatdt **(descriptions of plates is helpful) replaced religion with an aesthetic of the secular sublime (11) Landscapes of Frederic Church By Franklin Kelly Student of Cole Famous in his own time (2) Hard work (8-9) His career was not created by the Great Paintings (Niagara, Heart of Andes) Making himself known (10) (Emerson) participated in professional organizations painted ambitious pictures publicity articles and press (New England Scenery, 1851) great paintings(pay as you enter 5 feet wide (literary and spiritual allegory Christian on the Bordervalley critics writing about himsome of the longest and most thoughtful reviews ever penned about American art (16)?? People in NY began to assimilate the implications of his work(from thereon he was not the only landscape painters in town **Became more reclusive(chose solitude of the Hudson River property Attacked by critic Jarves Needed travel, rest(internationally recognized The Afterglow (23)( 4 rays of setting sun, electrifying surrounding clouds, while storms whirled on wither side (23) one of his finest works fascination with phenomenon (traced to Cole) The foundations of his fame were New England scenery not finer views in the world than he can command from his windows (28) (look into his own backyard (Olana was his Walden) Chapter 2 Giant spectacular landscapes *** great summation pieces meant not only to impress and entertain the publicbut also to instruct and edify (p. 31) A great work of art is a delight and a lesson (p. 31) ***The Quote*** (pg 32) convey complex ideas about mankind His goal was always the same: to make landscape painting rise above the merely descriptive and do far more than simply record the basic facts of the external world. He wanted his art, through landscape, to address issues of profound significance and , in doing so, to convey complex ideas about the world and mankind. (MORE) Catskills at 18 years old(Church **was Coles only pupil Cole(virtues and beauties of American landscape (33) (science, religion and national identity) Americans began to notice/have an awareness of surroundings Church( higher style of landscape Express elevated truths about mankind and his earthly existence (33) Important to Cole, not for what it says about nature but about human condition Raise landscape from traditionally low position Not Old World themes, new world themes Cole in 1844 (shortly before Church became student) Pg 34 They are subjects of a moral and religious nature and on such I think it the duty of the artist to turnhis works ought not to be mere dead imitations of thingsw/o the power to impress a Sentiment or enforce a moral or religious truth (pg 35) Pattern/trend(landscape more imaginary Church. From Hartford how to create landscape that were repositories of important ideas (36) Church wants to develop personal and a communal moral (39) (42) use of radiant light(force of revelation and clarity Rays of light, not always accurate These rayssuggest the rays of light seen emanating from God, Christ, the Holy Spirit, or Saints in countless Christian images (42) Physical journey becomes spiritual journey *Late 1840s(paints New England (42) --nice, picturesque landscapes but he also had works that were more dramatic, or sublime interpretation of nature clouds, charged light not just peaceful viewing, active --created first hand experience with world 46 Emersons original relationship with universe P. 46 transcendentalist response Critics preferred realistic landscape (47) (against argument?) west Rock(success, critic, Ruskin, First fully mature work established him as independent artist (50) Harvest (Thoreau) pg 51 Churchs work is full of matter-of-fact reality of the here and now. His view closely parallels that of his contemporaries. HDT (pg 51) ( on the great NE landscape (Thoreau) ( for both, a precise description of the world they observed led to a deeper more profound truths(in the particular, they were able to find the universal (51) Chapter 3 Visions of NE West Rock made him one of the leading landscape painters, sketching tour of VT in 1849 Church trying to establish himself separate from Cole Spring 1850 (sketching tour of Maine) Thoreau What sought there? The dramatic scenery and sublime landscape (57) In Maine, one could see the New World as it was seen by the first settlers Thoreau went to Maine for the first of three trips in 1846 (derived a new understanding of the American wilderness and an increased appreciation for its power (58) Church wanted a new scene, inspiration --taste for the sublime(previously demonstrated in his imaginary work, now wanted to apply those effects to the real. Here he was seeking the intersection of the real and ideal !!!!!!! He had never attempted such objects as in Maine (The new challenges of the frontier), discover self 1840s and 50s Americans advised to study the works of the Dusseldorf masters because they showed/demonstrated what Americans lacked. Beacon (stark in its simplicity, success because of its fidelity to nature (62) 1851 NE Scenery -composite picturemany details specific to the portrayal of NE generally (Church showing the universal in the details) New England (Cole, Pastoral state) for Church, this was the perfect stage of development for the American nation, poised between nature and civilization, cultivated Paradise, but not destroying it. (66) Making high art out of the simplehe did not need allegory or historical event! Americans were, at last, ready to find in their own surroundings and their own lives the stuff of a modern mythology (67)** From then on, no more allegories or imaginaries.Church sought to convey ideas through his landscape Home by the Lake, 1852 Lake, cabin, stumps (clear trees to plant crops and build home) Walden *Mt Ktaadn, 1853 Thoreau, 1846 In search of the pure wilderness experience(71-72)*** South American trip represented a turn to the commercial 121 Barbara Novak, Nature and Culture Art history in context American landscapists, unlike some of the writers, were the avatars of faith, belief (xiv) by virtue of their exercise of creative powers and privileged readings of nature they could be recognized as faux-clergymen of a sort Views are a composite of religion, philosophy Recognize in nature a connection with creation and directly or indirectly, with God (xiv) transcendentalists accepted Gods immanence -God and nature were interchangeable ideas of Gods nature and of God in nature became hopelessly intertangled. (3) Distinctly American art Influence of Cole who depicted nature/West as Eden Perry Miller Naturein America means wilderness (4) Garden of West As much as West represents manifest destiny, it was also Eden reclaimed The landscapists were not imposing holy images onto landscape, instead they were revealing the sublime Nature as church(no, instead, see Gods image in it (pg 14 Nature and Art) Religion and philosophy projected onto nature Nature worship Gods immanence( shown through light Chapter 3 Sublime1700sfear, majesty, gloom Mts=deity, divine Humility, awe New way to see the Sublime(through silence 18th century sublime from Huge to impressivelandscape artist, convey the sublime Cole(Mts of NH a union of the picturesque, sublime and the magnificent (38) Silent energy of nature stirred the soul to its inmost depths Thoreau lake(landscapes most beautiful and expressive feature (Cole, Walden) Light(landscape artist turns matter into spirit (41) Pg 42 In the large paintings by Church and Bierstadt, light moves, consumes, agitates and drowns. Its ecstasy approaches transcendenceit extends the esthetic to a religious attitude. ( Emerson, The Oversoul The soul in man is a light Abandonment of self Chapter 4 What is striking about Church and Bierstadt(not scientific accuracy, ability, but expression of a philosophy and religion through art (quote?) Church like Humboldt(who also influences Emerson Example of how concerns and ideas of the age found their way into landscape painting broad interests He is a paradigm of the artist who becomes the public voice of a culture, summarizing its beliefs, embodying its ideas, and confirming its assumptionsharmonious co-existence of science, religion, and art(ideal worldview of the 19th century (67) interest in laws of the universe, reveal the soul why go to the tropics? Influence of humb. (68) Heart of the Andes Churchs pictorial affirmation of God in nature (71) Connection and segue from Emerson and Bier. Solitude, self-meditation(viewer takes on role Thomas Cole, Essay on Scenery Importance and significance of American scenery(Americans are fortunate to have it, not many appreciate or take time to see it Unity of past, present, future( give a taste of immortality an, prepare selves for greatness There is in the human mind an almost inseparable connection between the beautiful and the good (4) each must find inspiration, beauty on our own solitude(spiritual experience feels like a calm religious tone steal through his mind (5) **page 6 first and second paragraphs taste, which is the perception of the beautiful, and the knowledge of the . Study of art and nature is conducive to our happiness and well-being America scenery has features, and glorious ones, unknown to Europe (8) those scenes of solitude from which the hand of nature has never been lifted affect the mind with a more deep toned emotion than aught which the hand of man has touched (8)(God, creator, undefiled, eternal Mts Water(expressive feature: unrippled lake(expression of tranquility and peace (9) Speaking of small lakes in NH (they have such an aspect of deep seclusion, of utter and unbroken solitude, that, when standing on their brink a lonely traveler, I was overwhelmed with an emotion of the sublime, such as I have rarely felt. (11) Not the individual aspects, but the whole that brooded the spirit of repose, and the silent energy of nature stirred the soul to its inmost depths (11)) Both those quotes could have come from HDT Forest, primitive, all stages of life Nature quickly passing into civilization Church and Bierstadt do it in different waysfocus August 26, 1856 Thoreau Journal The Maine Woods Footnote, pg 58(Church visited many of the same places  _` < = ` a f h { | 4<qr  <=bc%&DEqr L"M"""v$w$$$q%r%C'D'=(>(s)t)** ,,[,c, j j j5\H*6]5\[  6f@l 3-``a_`i ) * a b t ? @ v  W  q r s { @!xykH & F^`HIyDEbp [s @^ & F@bun}~ V5^ & F & Fp^p & F5loCU"Iu3 & F ^`^ & F ^`3i|}$+NOf  Y | p^p %!N!v!!!""`"a"k"u"""#M#S#T#s##### $u$v$$$$ & F$$$$$ %T%U%c%j%w%%% &&9&c&&&''6'7''''''(((n(n(o(()8)9)r)))*6*7*P*f******++,B,V,W,,,-- & Fc,,,A-B-..0033M4N444\6]6p6z688d8g8"969w:x:::;;;;;;<<=<m<n<==I@J@m@n@AA^C_C2D3D8E9EFFGGHHbHcHGJHJJJLLPPRR T T*T,TTTTTUU0U2UUUVVcVdVOWPWWWJXKXH*6]5\ j j^-8-9----....../m/~////00007181111+2H2`H222223Y3Z33333L4m4445)5*5b5c55555556.6N6N6o6p6q6666h7i777788 8W8X8888899"95969F9a9q999999:*:4:G:H:e:f:::::K;L;;; <(<)<X<Y<<<=S=T= & FT========s>>>>>/@0@i@@@@AA,AtAAABSBPCQCxCxCyCCCDUDVDyDEE,E-EQEEEF1FaFFFFF2GHGIGGGHHHHHIIKIzII JFJJJJKKKKLLLLLLdMM2N3NNNOhOhOiOOOOOOO%P'P`PdPePPPPQQQRR@RfRRRRSSISJSJSSSSGTHTvTTTTTTTUU-UUUUVV^VVVWWWWW5X5X6XgXXXYYYY.Z/ZyZZZZZZZu[v[[[9\:\h\\\\\ & FKXYYYYZZZ%[&[[[q\r\}^~^^^^^__ aaaa j5\5\H* j\\<]=]]]]]^^^^^__`````` a a aaAaBabaraaaaa 1h/ =!"#$% i8@8 NormalCJ_HaJmH sH tH 2@2 Heading 1$@&5\<A@< Default Paragraph Font,B@, Body Text5\] 6f@l 3-_`i)*abt?@v Wq r s {  @   ! x y    k  H I y DEbp [s @bun}~ V5loCU"Iu3i|}$+NOfY|%Nv`akuMSTs u v !T!U!c!j!w!!! 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