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Thomas Cole. The Oxbow. 1840 -storm passed -studied with Daughty who painted from his imagination -passionate about nature |
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Asher B. Durand. Kindred Spirits, 1850 -hudson river school -Cole dies in 1848 -Durand is next leader -painted this in memorial to Cole -Don't mess with God's creation |
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Frederic Edwin Church. Niagra. 1860 -Cole takes him as pupil -Sublime: overwhelming, awed -no deeper meaning -truly American |
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Frederic Edwin Church. Heart of the Andes. 1860 -Huge -more narrative -puts together several different nature features -made to look like window -cross with little people, christians in harmony with land |
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Robert Scott Duncanson. Blue Hole, Little Miami River, 1850 -African American, had one white parent -loves Cole's paintings -Romantic, calm, stormy -good reflection, accurate leaves |
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Albert Bierstadt. The Rocky Mountains, Lander's Peak. 1860 -Surveyed Nebraska -slight romantic, smoky quality -showed Indians -painting went on tour and people couldn't believe it was real -encouraged them to go out and travel there |
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John Froelich. The Adoption of the Constitution. 1940 -earthy, subdued -individual portraits -hangs in prominent spot |
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Howard Chandler Christy. The Signing of the Constitution of the United States. 1940 -20x30 ft -known for his illustration -no one had any place to put it -people hated it -in staircase of capital |
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Fitz Hugh Lane. Boston Harbor at Sunset. 1850 -luminism, uniquely american light, God's glory -very precise, intense reflection on water -socialist principles -celebrates Boston seafaring history -new steamboats are in back, masts in front -unitarianism, rejects one single religion |
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Martin Johnson Heade. Thunderstorm on Narragansett Bay. 1870 -fleeting beauty, small birds, people, boats |
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George Inness. Sunny Autumn Day. 1890 -related to Hudson River School -introduced to swedish philosopher, Swedenborg -suggests metaphysical reality -profound spiritual meaning in landscape -discussed philosophy in the Doctrine of Correspondence |
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