Frederic Church in the Maine Wilderness
John Walsh Friday, November 3, 2017, 1:30 pm In the mid-19th century, Thomas Cole’s pupil Frederic Church (1826–1900) was America’s most famous artist. Church’s Mt. Ktaadn from 1853 resulted from a trip deep into the wilds of Maine, which he took after he read Henry David Thoreau’s writings. The views that Church actually saw on his travels differed from what he chose to paint, and this lecture explores how and why he altered the appearance of the actual landscape. Generously sponsored by the Martin A. Ryerson Lectureship Fund. In each lecture in this series, John Walsh selects an American painting in the Gallery’s collection and examines the similarities and differences between depiction and reality, returning to the painter’s original vantage point in an attempt to work out just what happened when he returned to the studio. Note: This lecture is the second in the series American Views, Viewpoints, and Manipulations.

Sanford Gifford Creates “Darkness Visible”

Albert Bierstadt Follows the Sun

How Dutch Painters Invented Atmosphere

John Wilmerding Celebration: Seeing in Detail: Frederic Church and the Language of Landscape

At Edward Hopper’s Doorstep

Frederic Edwin Church: A collection of 206 paintings (HD)

David Hockney Interview: I Am a Space Freak

Heart of the Andes

American Landscape Painting: Albert Bierstadt and the American Land

Winslow Homer: A collection of 161 paintings (HD)

The Art of the Order of Nature: Frederic Edwin Church and Humboldt's Earthly Model

The Genius of Turner: Painting The Industrial Revolution

Van Gogh in Arles I: Town, Fields, and Gardens

Caspar David Friedrich - Explained in 10 Famous Paintings

Lecture 3: Jacob van Ruisdael’s Windmill at Wijk bij Duurstede and Dutch Landscape

Seascape in the Dutch Golden Age

Luminous Landscapes of John Frederick Kensett – Contentment island, CT - #110

Mondrian on the Rivers and in the Dunes

Lecture 6: Johannes Vermeer’s View of Delft: The Prose and Poetry of View Painting

