Summer Hills, Hunter Mountain
By Jervis McEntee
Located in New York, NY
Dated lower right: Sept. 67
19th Century Hudson River School Art
Oil
Considered the first major American painting movement, the Hudson River School emerged in the first half of the 19th century with landscape paintings that celebrated the young country’s natural beauty. Most of its leading painters were based in New York City where they exchanged ideas and traveled to the nearby Hudson River Valley and Catskills Mountains to re-create their vistas. At a time when the city was increasingly dense, the Hudson River School artists extolled the vast and pristine qualities of the American landscape, a sentiment that would inform the conservation movement.
American art was dominated by portraiture and historical scenes before Thomas Cole, the founder of the Hudson River School, began painting the Catskill Mountains in 1825. While the Hudson River School was informed by European art aesthetics, particularly the British focus on the sublime in nature, it was a style imbued with nationalism. The landscape painters who followed and studied under Cole would expand their focus from the Northeastern United States to places across the country, their work shared through prints and portfolios promoting an appreciation for the American wilderness — Niagara Falls, the mountain ranges that dot the American West and more — as the style blossomed during the mid-19th century.
Cole’s student Frederic Edwin Church as well as painters such as Albert Bierstadt, John Frederick Kensett, Asher Brown Durand and others became prominent proponents of the Hudson River School. The American art movement also had close ties to the literary world, including to authors like William Cullen Bryant, Henry David Thoreau and James Fenimore Cooper who wrote on similar themes. Although by the early 1900s the style had waned, and modernism would soon guide the following decades of art in the United States, the Hudson River School received renewed interest in the late 20th century for the dramatic way its artists portrayed the world.
Find a collection of authentic Hudson River School paintings, drawings and watercolors and more art on 1stDibs.
Summer Hills, Hunter Mountain
By Jervis McEntee
Located in New York, NY
Dated lower right: Sept. 67
Oil
1860s American Gilt Frame Eli Wilner Historic Period Collection Hudson River
Located in Jacksonville, FL
An Exceptional Gilt Frame with Historic Provenance This 1860s American Hudson River School frame is a remarkable artifact in its own right, enriched by...
Wood
Lake in the Mountains
Located in New York, NY
Signed and dated lower left: D. F. Bigelow / 70
Canvas, Oil
Grapes and Peach
By George Cope
Located in Saratoga Springs, NY
Signed lower right & dated 1888.
Canvas, Oil
Antique 1860s Hudson River School Gilt Frame with Egg-and-Dart and Bead Molding
Located in Jacksonville, FL
A beautifully preserved example of mid-19th-century American frame craftsmanship, this giltwood frame from the 1860s reflects the classical elegance favored by the Hudson River Schoo...
Wood
Niagara Falls
Located in New York, NY
Signed lower left: R. Gignoux
Oil
Homeward Bound
Located in New York, NY
Signed lower right: W Whittredge
Oil
On the Hudson Looking North
Located in New York, NY
Signed and dated lower left: J. W. Hill / 1867; on verso: On The Hudson – Looking North
Watercolor, Pencil
Portrait of Grandmother and Grandson titled "Standing Guard"
Located in Fredericksburg, VA
John George Brown (1831–1913) was a prominent British-born American painter, renowned for his genre paintings that vividly depict the everyday life of chi...
Canvas, Oil
Price Upon Request
"A Cloudy Day, " View of Montclair, New Jersey, Tonalist, Barbizon Scene
Located in New York, NY
George Inness (1825 - 1894) A Cloudy Day, 1886 Oil on canvas 25 x 30 inches Signed and dated lower center Provenance: The artist Estate of the above Fifth Avenue Galleries, New York, Executor's Sale of Paintings by the Late George Inness, N.A., February 12 - 14, 1895, Lot 132 Joseph H. Spafford, acquired from the above Mrs. Spafford, by bequest from the above Leroy Ireland, New York, 1951 Ernest Closuit, Fort Worth, Texas Meredith Long & Company, Houston, Texas, circa 1960 Private Collection Shannon's Fine Art, American and European Fine Art Auction, October 27, 2016, Lot 42 Exhibited: New York, American Fine Arts Society, Exhibition of the Paintings Left by the Late George Inness, December 27, 1894, no. 90. Literature: LeRoy Ireland, The Works of George Inness: An Illustrated Catalogue Raisonne, Austin, Texas, 1965, p. 336, no. 1324, illustrated. Michael Quick, "George Inness: A Catalogue Raisonne," Vol. II, New Brunswick, New Jersey, 2007, pp. 282-83, 311, no. 966, illustrated. George Inness, one of America's foremost landscape painters of the late nineteenth century, was born in 1825 near Newburgh, New York. He spent most of his childhood in Newark, New Jersey. He was apprenticed to an engraving firm until 1843, when he studied art in New York with Regis Gignoux, a landscape painter from whom he learned the classical styles and techniques of the Old Masters. In 1851, sponsored by a patron, Inness made a fifteen-month trip to Italy. In 1853 he traveled to France, where he discovered Barbizon landscape painting, leading him to adopt a style that used looser, sketchier brushwork and more open compositions, emphasizing the expressive qualities of nature. After working in New York from 1854 to 1859, he moved to Medfield, Massachusetts, and four years later to New Jersey, where through a fellow painter he began to experiment with using glazes that would allow him to fill his compositions with subtle effects of light. Duncan Phillips remarked on Inness’s mellow light as a unifying force, saying, “…he was equipped to modernize the grand manner of Claude and to apply the methods of Barbizon to American subjects." At this time also, Inness developed an interest in the religious theories of Emanuel Swedenborg...
Canvas, Paint, Oil