Contemporary black and white photograph made to look old. The image is contained within the circular field created by the aperture. A foggy landscape with silhouetted trees receding from the left into the hazy distance and sky.
Photograph taken and treated with techniques to make it look antique. The ethereal faded landscape image of rural Virginia evokes history and the memory of a pastoral, antebellum past, or the ghost of that past haunting the South of the post-Civil War era.
Landscape painting depicting a dirt pathway with steps and a wooden railing cutting through the center of the composition leading to a house on a hill in the distance. On either side of the path are blooming trees bearing pink and white blossoms in a green meadow.
This work is indicative of the influence Japanese prints had on Dow’s work, and his subsequent emphasis on elements such as line, mass and color. In “Spring Landscape” Dow utilizes strong dynamic line, a high horizon line, flattened space, asymmetry, vibrant colors, and a simplification of form to represent a scene of nature at the height of spring.
Landscape painting of costal scene overlooking a body of water using an aerial perspective; three tree tops in center in darkened foreground in front of a glowing sky
Seeking solace after the Civil War, Kensett acquired property on Contentment Island on the Long Island Sound near Darien, Connecticut. This painting, probably painted from the artist's third-floor bedroom window or cupola, at the highest point of the island, captures the spirit of a nation in transition after the Civil War and reflects the desire to escape the congestion of growing cities to a place of placid retreat, and a longing to return to nature and the simpler, rural life of early America.
Landscape with minute figure standing on the banks of a lake among trees and boulders in the foreground and mountains in the distance; blue sky with dark storm clouds on left and white cumulonimbus cloud on right.
The painting depicts a scene from the Adirondack Mountains of up-state New York, possibly the shores along Lake Chateaugay, from the western shore of the Narrows, with Panther Mountain and Lyon Mountain in the distance.
“The Adirondacks” illustrates Hart’s embrace of the mannerism of the Hudson River School characterized by serene, pastoral, romantic landscapes. Hart depicts the American landscape as a bucolic setting, where humans and the natural world coexist harmoniously, and exploits the minuteness of the figure in the foreground and the storm clouds in the sky to emphasize the power and grandeur of nature.
sticker on wooden frame - Catherine Viviano Gallery, 42 East 57th Street, New York 22, N.Y.; Artist: Kay Sage; Title: Bounded on the West by the Land Under Water; Date: 1946; Medium: oil on canvas; Size: 28 x 26 inches
In pencil on wood frame - Bounded on the West by the Land Under Water, 1946, Kay Sage, Woodbury, Conn. 1963/2.1
Four spare industrial structures rise at different angles into an empty landscape. On the viewer's right, a scaffolding rises from the lower corner and angles to the left. On the left, another scaffold structure runs from the bottom corner along the left edge. In the middle, a building-like structure rises from the bottom of the composition and leans into the visual space, resting on a long rectangular solid that is draped with a cloth.
An expansive, lonely, empty space is occupied only by the spare presence of scaffolds and buildings whose physical structures do not quite make logical sense. The image expresses the melancholy, desolateness, and crazy logic potential in human-made landscapes, like industrial sites and cities.
Landscape with trees in foreground, valley in middle ground dotted with minute figures of sheep and a farmer with a team of oxen pulling well-filled haywain. Mountains in distance with a snow-capped mountain in center background.
“White Mountains” was a popular subject amongst 19th century Americans, who, stirred by the doctrine of Manifest Destiny, wanted patriotic emblems of an optimistic and expanding nation. Using the popular tenets of the sublime and the picturesque, Hodgdon juxtaposes an awe-inspiring snow-capped mountain in the distance with a lush valley just beginning to show evidence of a fading summer.
This is a vertical format painting surrounded by green and gold fabric. It is painted in tones of black with some areas of pink and blue color. It depicts a landscape scene with a cluster of small houses nestled in a craggy mountainous area. There is a river that runs through the landscape with two figures crossing a small footbridge. Other figures are shown in the open area of the village. The trees and vegetation are painted with short abbreviated brushstriokes.
This painting was once attributed to Hasegawa Nobuharu (Tôhaku), one of most celebrated painters of the Momoyama Period, whose large workshop of artists decorated the walls and screens of castles occupied by flamboyant military leaders. The rocky outcroppings and dotted outlines in this painting reveal his style, but it is more likely that this work was done by one of his pupils.
Lettering: Moon-Light./In the Collection of Christopher Batt Esq.- /published Jan. 20th 1775 by John Boydell / Engraver in Cheapside, London / Van der Neer pinxit Vivares Sculpsit. / Size of the picture, 1 6 1/2 by 2 3 1/2 in Length.
Inscription above landscape: VARIJ PROSPECTVS SYLVESTRES IN OPPIDO SANCTI VITI, ET IN AEDIBVS D. MARCHINONIS CAROLI THEODOLI A CRESCENTIO DE HO- NVPHRIJS COLORIBUS EXPRESSI . AC ETIAM AERE INCISI QU OS Reumo. Pri D. Athanasio Clappinio Nobili Placentino et Congregationies Canonicorum Regularium Sancti Saluatoris Laternen sium Abbati Generali meritissimo. Laurentius Philippus de Rubeis bumillime dicat Inscription below landscape: Romae ex officina Dominici de Rubeis heredis Io-Iacobi de Rubeis ad Templ / Sae. Mae. de Pace cum Priuil Sum. Pont. et Sup. perm. An 1696 Watermark: fleur-de-lis in double circle