Church would tackle a similar subject when he painted The Wreck (Fig. In the exclamatory language of the sublime, these influential artists celebrated nature’s dual pastoral and awesome, even destructive, elements. Olana, OL (1977.112)Īt the same time, several other artistic and literary forces then coming to fruition-Andreas Achenbach (1815–1910), Fitz Henry Lane (1804–1865), and New England author Henry David Thoreau (1817–1862)-shaped Church’s ambition to try new subjects along the Maine coast. Graphite on light brown paper, 10-13/16 x 15 inches. Image © 1929 The Parthenon Museum, Nashville, Tennessee.Īfter Cole’s death in 1848, Church’s maturing style followed the evolving taste toward a more exacting and explicit recording of sites, but his teacher’s work in that exotic coastal wilderness obviously impressed him deeply.įig. The Parthenon, Nashville, Tennessee (29.2.14). Desert Island, After a Squall (Cincinnati Art Museum, Cincinnati).įig. Over the next year he created at least three canvases based on his trip, including View across Frenchman’s Bay from Mt. In 1844 Cole decided to make an excursion to the Maine coast and Mount Desert Island, where he filled his sketchbook with more than a dozen pencil drawings of the surrounding area as well as panoramic views of and from the island itself. From 1844 to 1846 Church studied with Thomas Cole (1801–1848), the foremost landscape artist of the day, in Catskill, New York. How Church came to travel to Maine relates to his initial artistic training. Over the thirty-year period, Church made more than a dozen trips to Maine, nearly half to Mount Desert during the 1850s and the remainder to the Katahdin region mostly in the two decades following. Where his earlier production was extroverted and exclamatory, the latter was often nostalgic and withdrawn. The work done in Maine during the 1850s and early 1860s, primarily at Mount Desert, embodied sentiments of increasing national strife, in symbolic and suggestive ways, while his career of the later 1860s and into the 1880s was devoted more to Church’s personal time in inland Maine around Mount Katahdin. His paintings address both history and autobiography. 1), based on a sunset he had sketched at Bar Harbor, Maine, a few years earlier, ranking among the dozen greatest paintings in the history of American art.Ĭhurch was a public and a private artist. Further, many believe his work done in Maine includes some of his most important images, with Twilight in the Wilderness (Fig. W e now recognize Frederic Edwin Church (1826–1900) as one of America’s great artists of the nineteenth century. 1 : Frederic Edwin Church (1826–1900), Twilight in the Wilderness, 1860. This exhibition is co-curated by Mark Prezorski, Landscape Curator, The Olana Partnership, and Jane Smith AIA, Spacesmith.Fig. Stern Architects), Christopher Counts, ASLA (Counts Studio), Adriaan Geuze, (West 8 urban design and landscape architecture), Judith Heintz, ASLA (sassafras55), Steven Holl, FAIA (Steven Holl Architects), Joan Krevlin, FAIA (BKSK Architects), Tom Krizmanic, AIA (Gensler), David McAlpin, AIA (Fradkin & McAlpin Architects), Laurie Olin, FASLA (OLIN), Peter Pennoyer, FAIA (Peter Pennoyer Architects), Margie Ruddick, ASLA (Margie Ruddick Landscape), Hayes Slade, AIA (Slade Architecture), Allan Shope, AIA (Allan Shope Architect), Ken Smith, ASLA, (Ken Smith Workshop), Alison Spear, AIA (Alison Spear AIA), Dana Tang, AIA (Gluckman Tang), Michael Vergason, FASLA (Michael Vergason Landscape Architects), and Adam Yarinsky, FAIA (Architecture Research Office). Each designer is free to explore and combine historic and contemporary design themes.įeatured Designers: Richard Alomar, ASLA (Rutgers University), Diana Balmori, FASLA (Balmori Associates), Mary Burnham, AIA (Murphy Burnham & Buttrick Architects), Randy Correll, AIA (Robert A.M. The 21 designers have imagined Olana’s summer house and have each created one concept sketch of this structure and its environs, much in the way Frederic Church sketched to convey design and architectural ideas. In the 1886 “Plan of Olana,” a detailed blueprint of Frederic Church’s vision for his large-scale designed landscape, the plan’s details are largely accurate, yet it contains a structure labeled “Summer House” for which there is no documentary evidence. This exhibition unites 21 visionary architects and landscape architects to address one of the great mysteries at Olana State Historic Site: the summer house. The Olana Partnership, in collaboration with the New York chapters of the American Institute of Architects (AIANY) and the American Society of Landscape Architects (ASLA-NY), presents Follies, Function & Form: Imagining Olana’s Summer House.
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