Frederic Edwin Church

Frederic Edwin Church (May 4, 1826 – April 7, 1900) was an American landscape painter born in Hartford, Connecticut. He was a central figure in the Hudson River School of American landscape painters, best known for painting large landscapes, often depicting mountains, waterfalls, and sunsets. Church's paintings put an emphasis on realistic detail, dramatic light, and panoramic views. He debuted some of his major works in single-painting exhibitions to a paying and often enthralled audience in New York City. In his prime, he was one of the most famous painters in the United States.

Frederic Edwin Church
Frederic Edwin Church - Brady-Handy (cropped)
Frederic Edwin Church
BornMay 4, 1826
Hartford, Connecticut, United States
DiedApril 7, 1900 (aged 73)
New York City, New York, United States
Known forLandscape painting
Notable work
Niagara, The Heart of the Andes
MovementHudson River School



Frederic Edwin Church was a direct descendant of Richard Church, a Puritan pioneer from England who accompanied Thomas Hooker on the original journey through the wilderness from Massachusetts to what would become Hartford, Connecticut.[1] Church was the son of Eliza (1796–1883) and Joseph Church (1793–1876). Frederic had two sisters and no surviving brothers. His father was successful in business as a silversmith and jeweler and was a director at several financial firms. The family's wealth allowed Frederic to pursue his interest in art from a very early age. In 1844, aged 18, Church became the pupil of landscape artist Thomas Cole[2] in Catskill, New York after Daniel Wadsworth, a family neighbor and founder of the Wadsworth Athenaeum, introduced the two. Church studied with him for two years; by this time his talent was more than evident. Cole wrote that Church had "the finest eye for drawing in the world".[3] During his time with Cole, he travelled around New England and New York to make sketches, visiting East Hampton, Long Island, Catskill Mountain House, The Berkshires, New Haven, and Vermont.[4] His first recorded sale of a painting was in 1846 to Hartford's Wadsworth Athenaeum for $130; it was a pastoral depicting Hooker's journey in 1636. In 1848, he was elected as the youngest Associate of the National Academy of Design and was promoted to full member the following year. He took his own students: William James Stillman in 1848 and Jervis McEntee in 1850.[4]

Style and influences

New England Scenery, Frederic Edwin Church, 1851 - Museum of Fine Arts, Springfield, MA - DSC03984
New England Scenery (1851) was Church's "first true composite landscape"—it used sketches from various locations to develop a more detailed and spatially complex landscape than found in Cole's work.[5]

Romanticism was prominent in Britain and France in the early 1800s as a counter-movement to the rationalism of the Age of Enlightenment. Artists of the Romantic period often depicted nature in idealized scenes that depicted the richness and beauty of nature, sometimes with emphasis on its grand scale. This tradition carried on in the works of Church, who idealizes an uninterrupted nature, highlighted by his excruciatingly detailed art. The emphasis on nature is encouraged by low horizontal lines and a preponderance of sky. Church usually "hid" his brushstrokes so that the painting surface was smooth and the painter's "personality" seemingly absent.

Church was the product of the second generation of the Hudson River School, a movement in American landscape art founded by his teacher Thomas Cole.[6] Both Cole and Church were devout Protestants, and the latter's beliefs played a role in his paintings, especially his early canvases.[7] Hudson River School paintings were characterized by their focus on traditional pastoral settings, especially the Catskill Mountains, and their Romantic qualities. They attempted to capture the wild realism of an unsettled America that was quickly disappearing, and the appreciation of natural beauty. His American frontier landscapes show the "expansionist and optimistic outlook of the United States in the mid-nineteenth century." Church differed from Cole in the topics of his paintings: he preferred natural and often majestic scenes over Cole's propensity towards allegory—though Church's work has increasingly been re-examined in terms of themes and meanings.

The Prussian explorer and scientist Alexander von Humboldt was a major influence on Church. In his Kosmos, Humboldt put forth a vision of the interconnectedness of science, the natural world, and spiritual concerns. Kosmos, which Church owned, dedicated a chapter to landscape painting; Humboldt gave an important role to the visual artist in "scientifically" portraying the diversity of nature, especially in the New World. As Charles Darwin's theory of evolution began to overturn Humboldt's ideas of unity in the 1860s, art historians have examined how Church's painting responded to this disruption in Church's world view.

The English art critic John Ruskin was another important influence on Church. In Ruskin's Modern Painters, he emphasizes the close observation of nature: "the imperative duty of the landscape painter [is] to descend to the lowest details with undiminished attention. Every class of rock, every kind of earth, every form of cloud, must be studied with equal industry, and rendered with equal precision." This attention to detail must be combined with the artist's interpretation, impressions, and imagination to achieve great art.[8] While Church's paintings were widely praised in the 1850s and 1860s, some critics found his detailed panoramas lacking in the imaginative or poetic. In his 1879 American Painters, George W. Sheldon wrote of Church's canvases, "It is scarcely necessary to ... explain what their principal defect is, because, by this time, that defect must have been recognized by almost every intelligent American lover of art. It consists in the elaboration of details at the expense of the unity and force of sentiment.... They are faithful and beautiful, but they are not so rich as they might be in the poetry, the aroma, of art. The higher and spiritual verities of Nature are the true home of landscape art."[9]

Some of Church's paintings relate to, and influenced, the luminist landscape style as well. Luminist art tends to emphasize horizontals, use non-diffuse light, and hide brushstrokes such that the painter's presence, or "personality", is less apparent to the viewer. An exhibition book considers Church's Morning in the Tropics and Twilight in the Wilderness to highlight the style's "meticulous draftsmanship and intense colors", while Cotopaxi and The Parthenon "exemplify the style ... in their panoramic structure".[10] Nevertheless, Church is not considered a primarily luminist artist.[11]


Cotopaxi church
Cotopaxi (1862)
Brooklyn Museum - Tropical Scenery - Frederic Edwin Church - overall
Tropical Scenery (1873)

Church began his career by painting classic Hudson River School scenes of New York and New England, but by 1850, he had settled in New York. He exhibited his art at the American Art Union, the Boston Art Club, and (most impressively for a young artist) the National Academy of Design. His method consisted of creating paintings in his studio based on sketches in nature. In the earlier years of his career, Church's style was reminiscent of that of his teacher, Thomas Cole, and epitomized the Hudson River School's founding styles. As his style progressed he departed from Cole's approach: he painted in more elaborate detail and his compositions became more adventurous in format, sometimes with dramatic light effects.

Church made two trips to South America in 1853 and 1857 and stayed predominantly in Quito, Ecuador. The first trip was with businessman Cyrus West Field, who financed the voyage, hoping to use Church's paintings to lure investors to his South American ventures. Church was inspired by Alexander von Humboldt's exploration of the continent in the early 1800s; Humboldt had challenged artists to portray the "physiognomy" of the Andes. After Humboldt's Personal Narrative of Travels to the Equinoctial Regions of America was published in 1852, Church jumped at the chance to travel and study in Humboldt's footsteps. When Church returned in 1857 with painter Louis Rémy Mignot, he added to his landscape paintings of the area. After both trips, Church had produced a number of landscapes of Ecuador and the Andes, such as The Andes of Ecuador (1855), Cayambe (1858), The Heart of the Andes (1859), and Cotopaxi (1862). The Heart of the Andes, Church's most famous painting, pictures several elements of topography combined into an idealistic, broad portrait of nature. The painting was very large, yet highly detailed; every species of plant and animal is identifiable and numerous climate zones appear at once.

As he had with Niagara before, Church debuted The Heart of the Andes in a single-painting exhibition in New York City. Thousands of people paid to see the painting, with the painting's huge floor-based frame playing the part of a window looking out on the Andes. The audience sat on benches to view the piece, sometimes using opera glasses to get close, and Church strategically darkened the room with a spotlight on the painting. The work was an instant success. Church eventually sold it for $10,000, at that time the highest price ever paid for a work by a living American artist.

During the Civil War, Church was inspired to paint Our Banner in the Sky, from which a lithograph was made and sold to benefit the families of Union soldiers.[12] In 1863, he was elected an Associate Fellow of the American Academy of Arts and Sciences.[13]

By 1860, Church was the most renowned American artist. In his prime, Church was a commercial as well as an artistic success. Church's art was very lucrative; he was reported to be worth half a million dollars at his death in 1900.

Family, later travels, and Olana

In 1860, Church bought a farm in Hudson, New York and married Isabel Carnes, who he had met during the New York exhibition of The Heart of the Andes. Church's first son and daughter both died of diphtheria in March 1865. He and his wife started a new family with the birth of Frederic Joseph in 1866. When the couple had a family of four children, they began to travel together.

In 1867, Church began the longest period of travel of his career. That fall he and his family went to Europe, moving through London and Paris fairly quickly. From Marseille they went to Alexandria, Egypt, but Church did not visit the pyramids, perhaps being afraid to leave his family alone. Passing through Jaffa, they arrived at Beirut, where they spent four months. They stayed with American missionaries, including David Stuart Dodge. In February 1868 Church travelled with Dodge to the city of Petra by camel from Jerusalem. There he sketched the Al Khazneh tomb, which became the subject of one of his important later works, El Khasné, Petra (1874). Later that spring the family visited Damascus and Baalbek, then sailed the Aegean Sea with a stop in Constantinople. Back in southern Europe by summer, they wintered in Rome, where Church's wife gave birth to a son. A two-week stay in Athens ended the journey in April 1869.[14] Europe on the whole did not seem to interest Church as it did most American artists of the 19th century, some of whom travelled there to experience the Western artistic heritage. Church was said to dislike his time in Rome.

Before leaving on that trip, Church purchased the 18 acres (7.3 ha) on the hilltop above his Hudson farmland, which he had long wanted for its magnificent views of the Hudson River and the Catskills. In 1870, he began the construction of a Persian-inspired mansion on the hilltop, and the family moved into the home in the summer of 1872. Today this land is conserved as the Olana State Historic Site. Richard Morris Hunt was consulted early on in the plans for the mansion at Olana, but after the Churches' trip, the English-born American architect Calvert Vaux was hired to complete the project.[2] Church was deeply involved in the process, even completing his own architectural sketches for its design. This highly personal and eclectic castle incorporated many of the design ideas that he had acquired during his travels. He quipped that he planned to sculpt an actual landscape to his taste. He devoted much of his energy during his last twenty years to Olana.

Church had been enormously successful as an artist.[15] In his last decades, illness limited Church's ability to paint. By 1876, Church was stricken with rheumatoid arthritis, making painting difficult. He eventually painted with his left hand and continued to produce works, although at a much slower pace. He still taught painting as Cole had before him; two students were Walter Launt Palmer and Howard Russell Butler. In later life he often wintered in Mexico, where he taught Butler.[16]

Spending time in Olana and Mexico, Church was less exposed to trends in New York City. He kept a studio there into the 1880s, but it was usually sublet to Martin Johnson Heade.[17] He was not interested in new developments in the art world, and his paintings in the 1880s and 1890s were few. His wife Isabel had been ill for years, and she died on May 12, 1899, at the home of their late friend and patron, William H. Osborn, on Park Avenue in New York. Less than a year later, on April 7, 1900, at the age of 73, Church too died at the home of Osborn. He and his wife were buried in the family plot at Spring Grove Cemetery, Hartford, Connecticut.[18][19]


The Icebergs (Frederic Edwin Church), 1861 (color)
Church's The Icebergs (1861) was sold at auction for a record-setting amount in 1979, following its rediscovery.

In the last decades of his life Church's fame dwindled, and by his death in 1900 there was little interest in his work. His paintings were seen as part of an "old-fashioned and discredited" school that was too devoted to details.[20] His reputation improved with a 1945 exhibition devoted to the Hudson River School at the Art Institute of Chicago, and that year the Metropolitan Museum of Art Bulletin revisited the original reception of The Heart of the Andes.[21] In 1960 art historian David C. Huntington completed a dissertation on Church that explored his influences and milieu. By 1966 he had written a monograph on Church and organized the first exhibition devoted to Church since his death,[22] for the National Collection of Fine Arts. Church's legacy was rekindled; American museums began to acquire his works, and by 1979 Church's The Icebergs sold for $2.5 million, then the third-highest auction for any work of art.[23] The next year the National Gallery of Art held a major exhibition, American Light: The Luminist Movement, 1825–1875, which positioned Church as the leading American painter of his time.[20]

Church's paintings, more confident and on a grander scale than those of his contemporaries, uniquely captured the spirit of an optimistic American people who associated the landscape of the New World with manifest destiny. Art historian Barbara Novak wrote that Church was "a paradigm of the artist who becomes the public voice of a culture, summarizing its beliefs, embodying its ideas, and confirming its assumptions."[24]

Olana State Historic Site is now owned and operated by the New York State Office of Parks, Recreation and Historic Preservation, Taconic Region, and receives extensive support from The Olana Partnership, a private, non-profit organization.


Frederic Edwin Church - Cotopaxi - Google Art Project

Cotopaxi, 1855

Cross in the Wilderness Frederic Edwin Church

Cross in the Wilderness, 1857

Frederic Edwin Church - Niagara Falls - WGA04867

Niagara,1857, Frederic Edwin Church, National Gallery of Art, Washington, DC.

Frederick Edwin Church - Morning in the Tropics - Walters 37147

Morning in the Tropics, ca. 1858, The Walters Art Museum, Baltimore

Oosisoak Frederic Edwin Church

Oosisoak, 1861

Frederic Edwin Church - Rainy Season in the Tropics - Google Art Project

Rainy Season in the Tropics, 1866, Fine Arts Museums of San Francisco

Church Frederick Edwin Jerusalem from the Mount of Olives

Jerusalem from the Mount of Olives, 1870, The Nelson-Atkins Museum of Art

Parthenon (1871) Frederic Edwin Church

The Parthenon, 1871, The Metropolitan Museum of Art

1872, Church, Frederic Edwin, Passing Shower in the Tropics

Passing Shower in the Tropics, 1872, Princeton University Art Museum

El Khasne Petra

El Khasné, Petra, 1874, Olana State Historic Site


  1. ^ Howat, 3
  2. ^ a b "Frederic Edwin Church". Collection. Cooper-Hewitt, National Design Museum. Retrieved September 30, 2012.
  3. ^ Kelly (1988), 2
  4. ^ a b Kelly (1989), 158–159
  5. ^ Avery, 17
  6. ^ "Master, Mentor, Master: Thomas Cole & Frederic Church". Thomas Cole National Historic Site. Retrieved September 19, 2014.
  7. ^ Avery, 12
  8. ^ Rosenbaum, Julia B. (2015). "Frederic Edwin Church in an Era of Expedition". American Art. 29 (2): 26–34. doi:10.1086/683349.
  9. ^ Rosenbaum, Julia B. (2015). "Frederic Edwin Church in an Era of Expedition". American Art. 29 (2): 26–34. doi:10.1086/683349.
  10. ^ Wilmerding, 17
  11. ^ Wilmerding, 120
  12. ^ "Rally 'Round The Flag – Frederic Edwin Church and The Civil War". The Olana Partnership. 2011. Retrieved September 20, 2018.
  13. ^ "Book of Members, 1780–2010: Chapter C" (PDF). American Academy of Arts and Sciences.
  14. ^ Davis, John (1987). "Frederic Church's 'Sacred Geography'". Smithsonian Studies in American Art. 1 (1): 79–96. doi:10.1086/smitstudamerart.1.1.3108973. JSTOR 3108973.
  15. ^ A newspaper reported: "New York Artist Leaves Stocks Valued at $474,447.72. The largest estate that has come under the jurisdiction of the Probate Court of this district for some months has lately been admitted." Unidentified newspaper clipping quoted in Huntington, 21
  16. ^ Burke, Doreen Bolger (1980). American Paintings in the Metropolitan Museum of Art, Vol. 3. Metropolitan Museum of Art. pp. 174, 284. ISBN 9780870992445.
  17. ^ Huntington, 110
  18. ^ Huntington, 111; Howat, 184
  19. ^ McEnroe, Colin (July 12, 1995). "A Tidy Resting Place For Famed Artist". Hartford Courant.
  20. ^ a b Kelly (1989), 12–14
  21. ^ See: Gardner, Albert Ten Eyck (1945). "Scientific Sources of the Full-Length Landscape: 1850". The Metropolitan Museum of Art Bulletin. 4 (2): 59–65. doi:10.2307/3257164. JSTOR 3257164.
  22. ^ Harvey, 12
  23. ^ Harvey, 24
  24. ^ Quoted in Kelly (1988), viii


  • Avery, Kevin J. (1993). Church's Great Picture: The Heart of the Andes. Metropolitan Museum of Art. ISBN 978-9994925193.
  • Harvey, Eleanor Jones; Church, Frederic Edwin (2002). The Voyage of the Icebergs: Frederic Church's Arctic Masterpiece. Dallas Museum of Art. ISBN 9780300095364.
  • Howat, John K.; Church, Frederic Edwin (2005). Frederic Church. Yale University Press. ISBN 978-0300109887.
  • Huntington, David C. (1966). The Landscapes of Frederic Edwin Church: Vision of an American Era. George Braziller. LCCN 66-16675.
  • Kelly, Franklin (1988). Frederic Edwin Church and the National Landscape. Smithsonian Institution Press. ISBN 978-0-87474-592-4.
  • Kelly, Franklin (1989). Frederic Edwin Church. National Gallery of Art. ISBN 978-0874744583.
  • Wilmerding, John (1989). American Light: The Luminist Movement, 1850–1875. Princeton University Press. ISBN 9780691040745.

External links

Arch of Titus (painting)

The Arch of Titus is an 1871 oil painting on canvas. It was a collaboration between three American painters: George Peter Alexander Healy, Frederic E. Church, and Jervis McEntee. It depicts the Arch of Titus in Rome, with the Colosseum in the background, and includes portraits of Henry Wadsworth Longfellow and his daughter Edith, and the three artists. The painting is currently on display in the Newark Museum in Newark, New Jersey.

Aurora Borealis (painting)

Aurora Borealis is an 1865 painting by Frederic Edwin Church of the aurora borealis and the Arctic expedition of Isaac Israel Hayes. The painting measures 142.3 by 212.2 centimetres (56.0 in × 83.5 in) and is now owned by the Smithsonian American Art Museum.

Cotopaxi (painting)

Cotopaxi is an 1862 oil painting by the Landscape painting artist Frederic Edwin Church. The work was commissioned by well-known philanthropist James Lenox. The painting was met with great acclaim, and seen as a parable of the Civil War, then raging in the South, with its casting of light against darkness.

El Khasné, Petra (painting)

El Khasné, Petra is an 1874 oil painting by American landscape artist Frederic Edwin Church. It is a depiction of the Al-Khazneh temple in the historical city of Petra, Jordan, which Church visited during an extended trip to the Middle East and Europe in 1867 and 1868. He visited the tomb with American missionary D. Stuart Dodge in February 1868 and made sketches there. The painting is located at Olana State Historic Site, the preserved homestead where Church lived in his later years. It may be the last canvas that he painted entirely with his right hand, owing to worsening rheumatoid arthritis.

The mausoleum is carved out of sandstone and at the time was only approachable by the depicted passageway, called the Siq. Church composed the painting as he would have first glimpsed the temple; he frames it with the dark rock in a manner that is unconventional for its time. Church found the site "astonishing" and wrote in his diary of a "beautiful temple ... shining as if by its own internal light", which he described as a salmon color. The composition is unlike those of the paintings that had made Church famous; there is no panoramic view, no conveyance of a "greater whole", and little sense of depth. The narrow passage has a stream running through it, and the two Bedouin figures at left, barely discernible, provide a sense of scale.

Church set out for Petra from Jerusalem with a large entourage of 21 men who provided meals and protection, and got on well with them. The area was popular with artists but considered dangerous; Church reported that an artist had been shot before him. Taking sketches of sacred locales was not necessarily seen as an innocent activity. As Church wrote:

We went straight to the famous Khasné, first as being the best of all the temples at Petra—I saw it, was astonished and then deliberately opened my three legged stool, sat upon it, opened my sketchbook, spread out the paper, sharpened the pencil, took a square look at the Temple and an askant one at the Bedawins and made my first line—they made no motion and after a few rapid touches, I felt that the mystery was solved in my favor—I could sketch without let or hindrance, a freedom unaccorded before.

The painting was a gift to Church's wife. He designed it, along with its frame, for the sitting room in which it still hangs at the Olana site. Its salmon color is reflected in the interior decoration. It was shown at the National Academy in 1874.

El Rio de Luz

El Rio de Luz (Spanish for The River of Light; also known as Morning in the Tropics) is an 1877 oil painting by American landscape artist Frederic Edwin Church. It is his last large-scale painting of South America, following pieces such as The Andes of Ecuador (1855) and The Heart of the Andes (1859). Like them, the painting is a composite of the many sketches and drawings Church made while traveling in South America twenty years earlier.

Greenport, Columbia County, New York

Greenport is also a village in Suffolk County, New York.Greenport is a town in Columbia County, New York, United States. The population was 4,165 at the 2010 census. The town is on the west border of the county and surrounds the city of Hudson on three sides. US 9 passes through the town.

Olana State Historic Site is located in the south part of the town. It was the former home of Hudson artist Frederic Edwin Church and is decorated in a Persian style.

Hudson River School

The Hudson River School was a mid-19th century American art movement embodied by a group of landscape painters whose aesthetic vision was influenced by Romanticism. The paintings for which the movement is named depict the Hudson River Valley and the surrounding area, including the Catskill, Adirondack, and White Mountains; eventually works by the second generation of artists associated with the school expanded to include other locales in New England, the Maritimes, the American West, and South America.

List of paintings by Frederic Edwin Church

This is a list of works by Frederic Edwin Church (1826–1900), an American landscape painter who was part of the Hudson River School. Church's paintings were inspired by his travels, including Africa, Europe, the Middle East, South America, and North America. Sketches are excluded—Church made thousands—unless they are in oil and very finished.

Niagara (Frederic Edwin Church)

Niagara is an oil painting by Frederic Edwin Church. Niagara was his most important work to date, and confirmed his reputation as the premier American landscape painter of the time. In his history of Niagara Falls, Pierre Berton writes, "Of the hundreds of paintings made of Niagara, before Church and after him, this is by common consent the greatest."

Niagara Falls, from the American Side

Niagara Falls, from the American Side is a painting by the American artist Frederic Edwin Church (1826–1900). Completed in 1867, it is based on preliminary sketches made by the artist at Niagara Falls and on a sepia photograph. It is Church's largest painting. The painting is now in the collection of the Scottish National Gallery. Church was a leading member of the Hudson River School of painters.

Olana State Historic Site

Olana State Historic Site is a historic house museum and property in Greenport, New York, near the city of Hudson. The estate was home to Frederic Edwin Church (1826–1900), one of the major figures in the Hudson River School of landscape painting. The centerpiece of Olana is an eclectic villa which overlooks parkland and a working farm designed by the artist. The residence has a wide view of the Hudson River Valley, the Catskill Mountains and the Taconic Range. Church and his wife Isabel (1836–1899) named their estate after a fortress-treasure house in ancient Greater Persia (modern-day Armenia), which also overlooked a river valley.Olana is one of the few intact artists' home-, studio- and estate-complexes in the United States; it was designated a National Historic Landmark in 1965. The house is also a prime example of Orientalist architecture. It is owned and operated by the New York State Office of Parks, Recreation and Historic Preservation, and is also supported by The Olana Partnership, a non-profit 501(c)(3) organization. The main building is an architectural masterpiece designed by the architect Calvert Vaux working closely with Church. The stone, brick, and polychrome-stenciled villa is a mixture of Victorian, Persian and Moorish styles. The interior remains much as it was during Church's lifetime, exotically furnished and decorated with objects from his global travels, and with some 40 paintings by Church and his friends. The house is intricately stenciled inside and out; Church designed the stencils based on his travels in the Middle East. The house contains Church's last studio, built as an addition from 1888 to 1890.

Parthenon (disambiguation)

The Parthenon is a former temple in Athens, Greece

Parthenon may also refer to:

Parthenon, Arkansas, United States

Parthenon (Nashville), a replica of the Athens Parthenon in Nashville, Tennessee

The Parthenon (mountain), a mountain of the Du Cane Range, in Tasmania, Australia

The Parthenon (newspaper), the student newspaper of Marshall University, Huntington, West Virginia

The Parthenon (painting), 1871 painting by American artist Frederic Edwin Church

Parthenon: Rise of the Aegean, a board game

Parthenon Zihuatanejo, the palatial house of Arturo Durazo Moreno in Mexico

The Aegean Sea

The Aegean Sea is a c. 1877 oil painting by American artist Frederic Edwin Church, and one of his last large-scale paintings.

The Andes of Ecuador

The Andes of Ecuador is an 1855 oil painting by Frederic Edwin Church, the premier American landscape painter of the time. It is the most significant result of his 1853 trip to South America, where he would travel again in 1857. It is Church's first major painting, his largest work to date, and "an early masterpiece of Luminism", according to the Reynolda House Museum of American Art in Winston-Salem, North Carolina, which holds the painting.

The Heart of the Andes

The Heart of the Andes is a large oil-on-canvas landscape painting by the American artist Frederic Edwin Church (1826–1900).

At more than five feet (1.7 metres) high and almost ten feet (3 metres) wide, it depicts an idealized landscape in the South American Andes, where Church traveled on two occasions. Its exhibition in 1859 was a sensation, establishing Church as the foremost landscape painter in the United States.The painting has been in the collection of New York's Metropolitan Museum of Art since 1909, and is among Church's most renowned works.

The Icebergs

The Icebergs is an 1861 oil painting by the American landscape artist Frederic Edwin Church. It was inspired by his 1859 voyage to the North Atlantic around Newfoundland and Labrador. Considered one of Church's "Great Pictures"—measuring 1.64 by 2.85 metres (5.4 by 9.4 feet)—the painting depicts one or more icebergs in the afternoon light of the Arctic. It was first displayed in New York City in 1861, where visitors paid 25 cents' admittance to the one-painting show. Similar exhibitions in Boston and London followed. The unconventional landscape of ice, water, and sky generally drew praise, but the American Civil War, which began the same year, lessened critical and popular interest in New York City's cultural events.

The painting became popular within Church's oeuvre and inspired other landscape artists' interest in the Arctic, but its apparent lack of narrative or allegory perplexed some viewers. Between exhibitions in the US and England, Church added the ship mast to the painting, and retitled the work from its original The North. He eventually sold the painting in England, where it disappeared from the art-world's awareness after the buyer's death in 1901. In 1979, the painting, which a number of New York City galleries were now hunting, was rediscovered in a home in Manchester, England, where it had remained for most of the intervening 78 years. It was soon put to auction in New York City, drawing significant interest as its sale coincided with renewed critical interest in Church, who had been largely forgotten in the 20th century. The Icebergs was auctioned for US$2.5 million, the most of any American painting to that point. The buyers, later identified as businessman Lamar Hunt and his wife Norma, donated the canvas to the Dallas Museum of Art, where it remains today.

The Parthenon (painting)

The Parthenon is a large 1871 painting by American artist Frederic Edwin Church which is in the collection of the Metropolitan Museum of Art, New York City.Church visited Greece in 1869 and spent several weeks in Athens, where he made numerous studies of the ruins of the Parthenon that later served as the basis for the work. In 1871 a commission from the financier and philanthropist Morris K. Jesup finally allowed Church to begin work on his "big Parthenon".

The painting is on view at the Metropolitan Museum's Gallery 774.

Twilight in the Wilderness

Twilight in the Wilderness is an 1860 oil painting by American painter Frederic Edwin Church. The woodlands of the northeastern United States are shown against a setting sun that intensely colors the dramatic altocumulus clouds. Church scholar John K. Howat describes the painting as "one of his finest ever" and as "the single most impressive example of Church's depictions of unsullied North American woodlands and their most famous representation in nineteenth-century painting".

William H. Osborn

William Henry Osborn (December 21, 1820 – March 2, 1894) was a 19th-century American railroad tycoon. Born and educated in Salem, Massachusetts, Osborn became one of the most prominent railroad leaders in the United States.

After several years working in business in the Philippines, Osborn took an interest in the Illinois Central Railroad in 1854. The Illinois Central, the first land grant railroad in the United States, was on the verge of bankruptcy in the wake of a stock scandal. A year after joining the railroad's Board of Directors, he was elected president, a position he held from December 1, 1855 to July 11, 1865.

Osborn became interested in the Chicago, St. Louis and New Orleans Railroad and guided the railroad from difficult economic times to profitability between 1875–1882. He retired from the railroad business in 1882 to concentrate on philanthropy near his home, Castle Rock, in Garrison, New York.

Osborn was a patron and close friend of the landscape painter Frederic Edwin Church. Church sold him The Andes of Ecuador and The Aegean Sea. Osborn's son was named William Church Osborn.

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