Olivia
Martin Johnson Heade’s habits of travel exposed him to the multi-faceted terrain of the Earth, introducing him to a plethora of environmental wonders that served as his artistic inspiration (Wilmerding). Journeying to Europe, South America, the West, and beyond, Heade was a restless soul (Wilmerding). Before his expeditions commenced, Heade received artistic instruction from Edward and Thomas Hicks (Wilmerding). This early education in the practice of painting built the foundation for the artist’s abilities with the brush. Yielding his first representations of nature in the early 1850s, more than a decade after launching his career, Heade produced the recurrent compositions of streams and paths guiding the eye deep within the vast landscape (Wilmerding). Yet in the sixties, Heade underwent a transformation that catapulted his reputation ahead, making him one of the most acclaimed luminists of the Romantic era (Wilmerding).
Painted in 1865, Heade’s Summer Showers exudes a tempestuous mood as the artist engages in his customary study of light and dark (Wilmerding). A scene of the marshy coastal lowlands in the American Northeast, Heade realizes the success of a recent reaping with golden haystacks (Wilmerding). Unlike his contemporaries, Heade avoids the dramatization of soaring peaks and cavernous valleys, choosing the stark expanse of unending planes (Wilmerding). The artist emphasizes the even topography with strong lateral lines rather than the familiar vertical emphasis (Wilmerding). The haystacks are but small disruptions in the endless expanse of fields. Yet the true subject of the work is not the land but rather the environmental conditions. The brooding skies and dark shadows starkly contrast with the brilliantly sunny fields in the distance. As the Civil War rocked the American nation, the darkness of war that pervaded everyday life is evident in piece’s foreground. Yet Heade optimistically offers hope for the future, a bright new day on the horizon. Promising an emergence from the inky shadows and into the dazzling sunlight, Heade predicts a positive conclusion to the violent strife. With a balanced design and the depiction of streams that guide the eye forward, Heade suggests a peaceful and ordered future (Wilmerding). Despite the volatile weather, equilibrium is maintained in Heade’s Summer Showers.
This balance, the tranquility that all luminists sought to depict, was threatened as the conclusion of the Civil War failed to realize a return to stability. The American populace had devoted all to this bloody conflict with the hope that it would quell the people’s antagonism, yet the end to bloodshed brought no peace. With no faith in the future, Heade’s melancholia is reflected in his work. Heade represents the country’s continued turmoil, three years after the final battle, in his Thunderstorm Over Narragansett Bay. A dark, foreboding image, saturated with black and gray, depicts the conclusion of a day’s sailing adventures as a thunderstorm brews. The sails hang lifeless on the ships in the unsteady calmness before the might of the storm is unleashed (Miller). The tiny bodies seem to depart from the shores lifelessly, mechanically proceeding without proper acknowledgment of the impending squall (Miller). Yet engulfing these helpless souls is the blackness of doom. Far off in the distance, we see a dramatic lightning bolt illuminate the sky (Miller). The inability to resolve the nation’s conflicts and move past sectional divisions is present in Heade’s landscape. Charged with dread and fear, the artist reflects on the horror of strife and the conclusion of the United States’ era of tranquility.
Art historians disagree on Heade’s legacy as a Hudson River School artist (Wilmerding). Heade’s breadth is immense, ranging from still lifes to portraiture; fewer than half his works are true landscapes (Wilmerding). And, to further diminish his membership, Heade selected subject matter outside the familiar patterns of the Hudson River School (Wilmerding). Nonetheless, Heade’s works remain shining examples of the American movement toward luminism. His experimentation with the vibrancy of light set the stage for a new era of artwork soon to come, impressionism.
Works Cited
Miller, Angela, et al. American Encounters: Art, History, and Cultural Identity. London: Prentice Hall, 2008. 266 – 267.
Wilmerding, John. American Art. Kingsport: Penguin Books, 1976. 96 – 97.
Images Cited
“Heade, Martin Johnson.” The Artchive. 19 November 2012.
< http://www.artchive.com/artchive/h/heade/heade_thunderstorm.jpg.html>
“Summer Showers.” Brooklyn Museum. 19 November 2012.
< http://www.brooklynmuseum.org/opencollection/objects/946/Summer_Shower s>
Martin Johnson Heade’s habits of travel exposed him to the multi-faceted terrain of the Earth, introducing him to a plethora of environmental wonders that served as his artistic inspiration (Wilmerding). Journeying to Europe, South America, the West, and beyond, Heade was a restless soul (Wilmerding). Before his expeditions commenced, Heade received artistic instruction from Edward and Thomas Hicks (Wilmerding). This early education in the practice of painting built the foundation for the artist’s abilities with the brush. Yielding his first representations of nature in the early 1850s, more than a decade after launching his career, Heade produced the recurrent compositions of streams and paths guiding the eye deep within the vast landscape (Wilmerding). Yet in the sixties, Heade underwent a transformation that catapulted his reputation ahead, making him one of the most acclaimed luminists of the Romantic era (Wilmerding).
Painted in 1865, Heade’s Summer Showers exudes a tempestuous mood as the artist engages in his customary study of light and dark (Wilmerding). A scene of the marshy coastal lowlands in the American Northeast, Heade realizes the success of a recent reaping with golden haystacks (Wilmerding). Unlike his contemporaries, Heade avoids the dramatization of soaring peaks and cavernous valleys, choosing the stark expanse of unending planes (Wilmerding). The artist emphasizes the even topography with strong lateral lines rather than the familiar vertical emphasis (Wilmerding). The haystacks are but small disruptions in the endless expanse of fields. Yet the true subject of the work is not the land but rather the environmental conditions. The brooding skies and dark shadows starkly contrast with the brilliantly sunny fields in the distance. As the Civil War rocked the American nation, the darkness of war that pervaded everyday life is evident in piece’s foreground. Yet Heade optimistically offers hope for the future, a bright new day on the horizon. Promising an emergence from the inky shadows and into the dazzling sunlight, Heade predicts a positive conclusion to the violent strife. With a balanced design and the depiction of streams that guide the eye forward, Heade suggests a peaceful and ordered future (Wilmerding). Despite the volatile weather, equilibrium is maintained in Heade’s Summer Showers.
This balance, the tranquility that all luminists sought to depict, was threatened as the conclusion of the Civil War failed to realize a return to stability. The American populace had devoted all to this bloody conflict with the hope that it would quell the people’s antagonism, yet the end to bloodshed brought no peace. With no faith in the future, Heade’s melancholia is reflected in his work. Heade represents the country’s continued turmoil, three years after the final battle, in his Thunderstorm Over Narragansett Bay. A dark, foreboding image, saturated with black and gray, depicts the conclusion of a day’s sailing adventures as a thunderstorm brews. The sails hang lifeless on the ships in the unsteady calmness before the might of the storm is unleashed (Miller). The tiny bodies seem to depart from the shores lifelessly, mechanically proceeding without proper acknowledgment of the impending squall (Miller). Yet engulfing these helpless souls is the blackness of doom. Far off in the distance, we see a dramatic lightning bolt illuminate the sky (Miller). The inability to resolve the nation’s conflicts and move past sectional divisions is present in Heade’s landscape. Charged with dread and fear, the artist reflects on the horror of strife and the conclusion of the United States’ era of tranquility.
Art historians disagree on Heade’s legacy as a Hudson River School artist (Wilmerding). Heade’s breadth is immense, ranging from still lifes to portraiture; fewer than half his works are true landscapes (Wilmerding). And, to further diminish his membership, Heade selected subject matter outside the familiar patterns of the Hudson River School (Wilmerding). Nonetheless, Heade’s works remain shining examples of the American movement toward luminism. His experimentation with the vibrancy of light set the stage for a new era of artwork soon to come, impressionism.
Works Cited
Miller, Angela, et al. American Encounters: Art, History, and Cultural Identity. London: Prentice Hall, 2008. 266 – 267.
Wilmerding, John. American Art. Kingsport: Penguin Books, 1976. 96 – 97.
Images Cited
“Heade, Martin Johnson.” The Artchive. 19 November 2012.
< http://www.artchive.com/artchive/h/heade/heade_thunderstorm.jpg.html>
“Summer Showers.” Brooklyn Museum. 19 November 2012.
< http://www.brooklynmuseum.org/opencollection/objects/946/Summer_Shower s>