{"id":738,"date":"2020-09-14T20:51:20","date_gmt":"2020-09-14T20:51:20","guid":{"rendered":"http:\/\/blogs.rollins.edu\/cfam\/?p=738"},"modified":"2020-09-14T21:07:02","modified_gmt":"2020-09-14T21:07:02","slug":"oil-sketches-at-cfam","status":"publish","type":"post","link":"https:\/\/blogs.rollins.edu\/rma\/2020\/09\/14\/oil-sketches-at-cfam\/","title":{"rendered":"Oil Sketches at CFAM"},"content":{"rendered":"\n

In July you may have seen me deliver a Collections Conversations talk<\/a> on one of my favorite objects in the collection, Shoshone Indians Rocky Mountains<\/em>, an 1859 oil sketch by the American painter Albert Bierstadt. In it, I talked about my belief that it was made in preparation for Bierstadt\u2019s first monumental landscape of the American West, Rocky Mountains, Lander’s Peak<\/em><\/a> (1863, Metropolitan Museum of Art). I made this determination in part based on research I did as part of the project, but also for my dissertation, which was on Bierstadt and other American painters who lived and worked in D\u00fcsseldorf, Germany during the years before the Civil War.1<\/sup> More than that, however, I used my sense of what Bierstadt\u2019s finished oil paintings look like. His paintings, especially from this early period of his career, are highly finished, reflective of the rigorous training he received in D\u00fcsseldorf as well as the prevailing taste, which called for artists to make sketches in the field before returning to the studio to paint, often in the winter.2<\/sup> They are also quite large, as much as ten feet on the longer, horizontal side. Shoshone Indians Rocky Mountains<\/em> is neither, using looser and painterly strokes to fill in the basics of the scene. It is also quite small and would have been easy for Bierstadt to paint on from a small portable easel, or even perhaps from horseback.<\/p>\n\n\n\n

\"Oil
Albert Bierstadt, (American, 1830-1902), Shoshone Indians Rocky Mountains<\/em>, 1859
Oil and gouache on paper mounted on board, 5 x 7 5\/16 in.
Gift of Samuel B. and Marion W. Lawrence, 1991.9<\/figcaption><\/figure>\n\n\n\n

I started writing this post not to rehash my dissertation or my talk from earlier this summer, however. Instead, I wanted to talk about another sketch in the collection, New Jersey Seascape \u2013 Atlantic City<\/em> by William Trost Richards. Richards was of the same generation as Bierstadt\u2014only three years younger\u2014but his career took a rather different course, at least, as different a course as two landscape painters from the same time and place could. Richards came of age, like Bierstadt, in an era defined by the landscape painter Thomas Cole, whose untimely death in 1848 cemented his legacy as the dominant presence in American landscape painting for at least the following two decades. Richards, unlike Bierstadt, did not go to Germany to study (though he did visit D\u00fcsseldorf briefly), instead coming under the influence of John Ruskin, the English poet and art critic who preached close fidelity to nature in landscape art. Ruskin\u2019s influence in the United States was profound and long-lasting, but its peak was relatively short, beginning in 1863 with the founding of the journal The New Path<\/em> and ending about a decade later. Richards was one of the best-known and most successful painters working in this vein, turning out minutely observed landscapes of generally small, quiet spots on the Eastern Seaboard.3<\/sup> <\/p>\n\n\n\n

\"Oil
William Trost Richards, (American, 1833 – 1905), New Jersey Seascape \u2013 Atlantic City<\/em>
ca. 1880-1890, Oil on canvas mounted on board, 9 1\/4 x 16 1\/2 in. (23.5 x 41.91 cm) painting
Gift of Samuel B. and Marion W. Lawrence in Honor of Joan Wavell,
former Director of the Cornell Fine Arts Museum, 1988.2 <\/figcaption><\/figure>\n\n\n\n

In the 1870s, however, tastes began to change, and Richards\nbegan to turn to the sea, making a series of increasingly abstract watercolors\nand oil paintings representing both the coast of the United States from Maine\nto New Jersey and parts of England.4<\/sup> He\nloved the sea, and continued his practice of plein air<\/em> sketching from\nearlier in his career, though he found it difficult to do so under the wet,\nwindy conditions. He therefore commissioned a series of small devices\u2014fashioned\nfrom cigar boxes\u2014that would allow him to paint in oil while standing on the\nshore.5<\/sup> New\nJersey Seascape \u2013 Atlantic City<\/em> is like many oil sketches in that it is not\nprecisely dated, and we are not sure which\u2014if any\u2014of his finished paintings it\nwas in preparation for. Nevertheless, it is an absolute tour-de-force of the\nmedium, showing Richards in full command of both medium and subject. He\nrepresents the cloudy sky, gently rolling sea, and a hint of the wet, barren\nsand as three separate yet connected bands, blending almost imperceptibly\ntogether in a slightly weak, golden light. A darkness on the horizon suggests\nthat a storm may be rolling in, or perhaps that the sun is rising just out of\nview. Either way, Richards has mastered this liminal space where light and\ndark, sea and land, all converge.
<\/p>\n\n\n\n

\n\n\n\n

1<\/sup> Grant Wesley Hamming, \u201cAmerikanischer Malkasten: American Art and D\u00fcsseldorf\u201d (Ph.D. Diss., Stanford University, 2016<\/a>.For an overview of Bierstadt\u2019s career see Nancy K. Anderson, Linda S. Ferber, and Helena Wright, Albert Bierstadt: Art & Enterprise<\/em>, 1st ed (New York: Hudson Hills Press in association with the Brooklyn Museum, 1990).<\/p>\n\n\n\n

2<\/sup>\nFor a landmark account of American landscape practice in the middle of the\nnineteenth century see Angela L\nMiller, The Empire of the Eye: Landscape Representation and American\nCultural Politics, 1825-1875<\/em> (Ithaca: Cornell University Press, 1996).<\/p>\n\n\n\n

3<\/sup> Nancy K Anderson et al., The American Pre-Raphaelites: Radical Realists\u202f: [Exhibition, Washington, the National Gallery of Art, April 14 – July 21, 2019<\/em>, 2019, 10-14. The New Path<\/em> lasted only until 1865, but its ideas continued to be advanced, especially by the critic Clarence Cook, for some time after.<\/p>\n\n\n\n

4<\/sup> Iris &\nB. Gerald Cantor Center for Visual Arts at Stanford University, William Trost\nRichards, and Carol Margot Osborne, William Trost Richards: True to Nature\u202f:\nDrawings, Watercolors, and Oil Sketches at Stanford University<\/em> (Stanford,\nCA; London: Iris & B. Gerald Cantor Center for Visual Arts at Stanford\nUniversity\u202f; in association with Philip Wilson Publishers, 2009), 40.<\/p>\n\n\n\n

5<\/sup> Iris & B. Gerald Cantor Center for Visual Arts at Stanford University, Richards, and Osborne, 94.<\/p>\n","protected":false},"excerpt":{"rendered":"

In July you may have seen me deliver a Collections Conversations talk on one of my favorite objects in the […]<\/p>\n","protected":false},"author":16,"featured_media":742,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"om_disable_all_campaigns":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"_uf_show_specific_survey":0,"_uf_disable_surveys":false,"footnotes":""},"categories":[55],"tags":[71,9,29,70],"class_list":["post-738","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-research-highlights-insights-into-the-american-art-collection","tag-albert-bierstadt","tag-cornell-fine-arts-museum","tag-rollins-college","tag-william-trost-richards"],"aioseo_notices":[],"yoast_head":"\nOil Sketches at CFAM - Rollins Museum of Art<\/title>\n<meta name=\"description\" content=\"Richards was of the same generation as Bierstadt\u2014only three years younger\u2014but his career took a rather different course, at least, as different\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/blogs.rollins.edu\/rma\/2020\/09\/14\/oil-sketches-at-cfam\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Oil Sketches at CFAM - 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