A landscape reduced to minimal abstract elements. The lower half of the painting is black. The upper half, various shades of white and blue. Two black squares are suspended in the white above the black. A small pale blue circle is between the squares.
One of Gottlieb's Imaginary Landscapes. The landscape reduced to basic conceptual elements, allowing the work to resonate between representation and pure minimalist abstraction. Interested in mythology, Carl Jung, and indigenous art, Gottlieb hoped to show "the emotional truth of the landscape."
This painting depicts a lush green countryside with an expanse of blue sky. It shows a hillside overlooking a small lake. There is a vista of fields and hills that extends beyond the lake to the horizon.
In the foreground, a woman wearing a long dress and a bonnet and carrying a walking stick and basket, walks toward the viewer along a dirt path. The path runs from a building on the far left toward the bottom of the painting. The vegetation is painted in sharp detail in dark tones of green and brown.
In the right half of the composition, there is a scene of a distant village and farms viewed through the trees on the edge of the hillside. In contrast to the shadowy wooded area, the view is bathed in bright sunlight. There is a lone bird in flight in the light blue sky that fills the top half of the painting.
In 1849 Herman Herzog entered the Dusseldorf Art Academy and studied with Achenbach and Schirme, two painters who were known for their literal and precise style of landscape painting. This work illustrates his training in the academic tradition of landscape painting. It has a balanced composition with foreground, middleground, background and atmospheric perspective to create the illusion of spatial depth. Tree formations and sunlight direct the viewer's eye back through the painting to the faraway village scene. Herzog's realism is especially evident in the foreground scene where the pathway and foliage are painted in exact detail. Although the actual locale is not identified, this scene is reminiscent of the Hudson River School style of painting with which Herzog is also identified.
A village by a lake is shown in the snow. Several travelers are walking in the streets. The snow is steadily fallling and covers their hats, the roofs of the houses, the trees and the mountains. The title is in the upper right corner in a red box.
A procession enters the village of Fujikawa, the 37th stop along the Tokaido Road. Many feudal lords travelled the road, so many stations, much like Fujikawa, would have had multiple inns for travelers.
Landscape painting with mountain peak at center and rolling mountains to either side; valley in foreground with houses hidden among trees in deep shadow and along hillside; blue sky above with wispy clouds.
During the nineteenth century, the White Mountains in New Hampshire attracted the attention of European as well as American painters. This is one of three known views of Mount Washington from Sunset Hill by Luthy, who, like many American painters during the mid-19th century, viewed nature as divine. In "White Mountains" he utilizes the traditional tenets of the picturesque landscape, but infuses his work with emblems of an optimistic and expanding nation through his incorporation of the small village of North Conway in the foreground.
A sketch of a hillside in the background, seen through the trees. The trees heights are low on the left, leaving the left corner of the image open, and extending taller towards the top of the page as they move right. Between the far right tree and the second to the right is a woman, about 1/5 the size of the tree she stands against. About halfway up the trunk, between the same two trees is a square structure with one darkened window in the middle and a dark scribble to the right of it.
A landscape sketch with of a hill with a line of trees in the foreground and a woman standing within them, reading.
Landscape painting with green marshy field in foreground, a grouping of trees in the middle ground on right side of canvas, and blue sky with patches of soft clouds above.
Typical of many of Eaton’s landscape paintings, “Twilight” depicts a marshy meadow with a grouping of trees executed in a Tonalist manner. Dominated by dark, neutral hues in grays, browns and blues, Eaton depicts the landscape with a sense of atmosphere or mist giving the work on an overall tone of wistfulness or nostalgia. Many 19th century American artists, like Eaton, felt a sense of longing for nature untouched by the hand of man, during a time when the Industrial Revolution brought about the clearing of enormous areas of land. The title itself, “Twilight,” is an allusion to the time when something is declining or approaching its end and darkness begins.
Landscape of flat terrain; water, perhaps a small stream, in the foreground; four leafless trees (two large, two small) right of center, and two leafless trees left of center, below a cloud-filled sky.
Painted in overall tones of blues, greens and grays, this landscape represents the growing nostalgia for untamed, natural land, which many 19th century American artists, like Murphy, were feeling during a time when the Industrial Revolution brought about the clearing of enormous areas of land.
A group of travellers moves along a path at the foot of the mountains that grow upward, dominating the majority of the pictoral space. The common technique using small black dots occurs throughout the painting, accenting mountain edges, tree branches and roots. A building can be seen peeking out from behind the mountains in the lower portion of hte painting.
It is common in Chinese ink painting to create works in dialogue with past masters. The dark jagged edges of the pine trees and rounded looming mountaintops recall the style of master painter Guo Xi and his famous work Clearing Autumn Skies over Mountains and Valleys. Active in the Northern Song Period (960–1217), Guo Xi was passionate about the need for painters to be in communion with nature in order to truly represent space and changing phenomena.
Dark landscape set atop a rocky mountain with sparse vegetation. There is a small boulder in the left foreground space with a dead tree standing beside it; in the right foreground there is what appears to be a small cave. A dead and broken tree lies across the bottom of the picture frame. There are mountains in the distance and a dark stormy sky above with a break in the clouds near the center of the canvas that reveals a sunny blue sky.
“In the Mountain Fastness” is a dark, moody, idealized landscape painting whose title is derived from a line in the popular classic Protestant allegory “The Pilgrim’s Progress” by John Bunyan, a Christian writer and preacher. Huntington believed that art had a high moral purpose and was a medium of spiritual truth. This work reflects Huntington’s deeply held personal religious beliefs and celebrates the grandeur of God’s power and creation in nature.
This landscape scene has an expansive blue sky in the upper half of the composition contrasted with the dark countryside, painted in hues of dark green and brown, in the lower portion. On the horizon, in between these two areas, is a mountain range with sharp pointed peaks. The forms of the bright white clouds mimick the foliage of the trees.
There are figures in the foreground area, although the rugged countryside shows no sign of habitation. On the right, two women are shown bending over, washing clothes in a small stream. There is a man sitting next to a laundry basket in the far left corner. A fourth figure, seen from the back only, is placed in the center area of the foreground.
Women washing clothes in a landscape setting was a common subject matter in landscape painting of this period. The reason for this choice of subject matter is unknown, but this painting shows Magnasco's landscape style of incorporating small figures, doing their daily work, in an expansive view of nature.
In the foreground, we see two women washing clothes in a small stream. On the far left, a man is sitting next to a basket filled with clothing. There is one othe figure seen from the back.
Landscape painting featuring a row of trees in the middle distance, separating a glowing sky above and a meadow in the foreground.
Best known for his landscapes and seascapes painted in a Tonalist manner, Tryon’s paintings typically feature a broken row or group of trees in front of a lustrous sky at sunset or sunrise with a marsh or pasture in the foreground, painted in muted autumnal hues.
In “Twilight” Tryon depicts a wooded meadow veiled in the misty atmosphere of deepening twilight, dominated by muted grays, browns, and blues. Tryon studied in Paris and this work illustrates the influence the French Barbizon style of painting had on his work, with its emphasis on rural scenes drawn directly from nature accentuated by a sense of mood and shadow.
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.