Rachel
With the works of Thomas Cole came the true introduction of Romanticism to America as well as one of the first art schools in the nation, the National Academy of Design. As artists learned to copy Cole’s noteworthy style, few stood out among the sea of wilderness landscapes. Robert Scott Duncanson was one of the few whose style was almost identical to Cole’s but still retained a likeness of the artist himself rather than era. As a true Romantic artist, Duncanson’s first commission was a landscape. Shortly after that he completed Blue Hole, Little Miami River in 1851, a landscape that encompasses the ideals of this period, and focuses on the notion of the unexplored and wild. Typical for this style, the persons in the painting are miniscule in comparison with the great trees that line the background. One of the most important differences between Duncanson’s and Cole’s landscapes is the artist’s history; Duncanson was born into a “family of free African Americans” (Pohl), and the appreciation for freedom can be seen in Blue Hole, Little Miami River. The line of trees that surround the lake fades into the distance, almost as a beacon for explorers to follow to their true purpose. While felled trees and jutting rocks pepper the lake’s edge, they also hold a sense of magnificence as well as purpose. In championing Cole’s paintings, Duncanson was able to experiment with the detail of the American landscape as well as express himself, and his experience, artistically.
Cole’s influence appeared yet again in Duncanson’s rendition of The Garden of Eden, listed second. As the second version of Cole’s landscape holds noticeable differences, the framing and perspective remain indistinguishable. While the mountain in the background of Duncanson’s painting captures the structure of the clouds in Cole’s, and the trees on both sides provide identical details, the copy still lacks the fullness and vivacity of the original landscape. Still an impressive work of art, Duncanson’s Garden of Eden conveys emptiness while Cole’s portrays paradise. Duncanson’s fault lies in his attempt to copy Thomas Cole instead of exploring his own artistic talents. Even though the Romantic period had a very strict set of guidelines, originality was still expected in certain aspects.
Works Cited
Pohl, Frances K. Framing America: A Social History of American Art. New York, NY: Thames & Hudson, 2002.
Images Cited
"Hudson River School." Sinoorigin. N.p., n.d. Web. 25 Nov. 2012. <http://www.sinoorigin.com/art-background/hudson-river-school.html>.
"The Garden of Eden." Art Value. N.p., n.d. Web. 25 Nov. 2012. <http://www.artvalue.com/auctionresult--duncanson-robert-scott-1817-18-the-garden-of-eden-1121347.htm>.
Wilmerding, John. "Reflections on the American Landscape." Wall Street Journal. N.p., 25 Sept. 2010. Web. 25 Nov. 2012. <http://online.wsj.com/article/SB10001424052748703556604575502081408169148.html>.
With the works of Thomas Cole came the true introduction of Romanticism to America as well as one of the first art schools in the nation, the National Academy of Design. As artists learned to copy Cole’s noteworthy style, few stood out among the sea of wilderness landscapes. Robert Scott Duncanson was one of the few whose style was almost identical to Cole’s but still retained a likeness of the artist himself rather than era. As a true Romantic artist, Duncanson’s first commission was a landscape. Shortly after that he completed Blue Hole, Little Miami River in 1851, a landscape that encompasses the ideals of this period, and focuses on the notion of the unexplored and wild. Typical for this style, the persons in the painting are miniscule in comparison with the great trees that line the background. One of the most important differences between Duncanson’s and Cole’s landscapes is the artist’s history; Duncanson was born into a “family of free African Americans” (Pohl), and the appreciation for freedom can be seen in Blue Hole, Little Miami River. The line of trees that surround the lake fades into the distance, almost as a beacon for explorers to follow to their true purpose. While felled trees and jutting rocks pepper the lake’s edge, they also hold a sense of magnificence as well as purpose. In championing Cole’s paintings, Duncanson was able to experiment with the detail of the American landscape as well as express himself, and his experience, artistically.
Cole’s influence appeared yet again in Duncanson’s rendition of The Garden of Eden, listed second. As the second version of Cole’s landscape holds noticeable differences, the framing and perspective remain indistinguishable. While the mountain in the background of Duncanson’s painting captures the structure of the clouds in Cole’s, and the trees on both sides provide identical details, the copy still lacks the fullness and vivacity of the original landscape. Still an impressive work of art, Duncanson’s Garden of Eden conveys emptiness while Cole’s portrays paradise. Duncanson’s fault lies in his attempt to copy Thomas Cole instead of exploring his own artistic talents. Even though the Romantic period had a very strict set of guidelines, originality was still expected in certain aspects.
Works Cited
Pohl, Frances K. Framing America: A Social History of American Art. New York, NY: Thames & Hudson, 2002.
Images Cited
"Hudson River School." Sinoorigin. N.p., n.d. Web. 25 Nov. 2012. <http://www.sinoorigin.com/art-background/hudson-river-school.html>.
"The Garden of Eden." Art Value. N.p., n.d. Web. 25 Nov. 2012. <http://www.artvalue.com/auctionresult--duncanson-robert-scott-1817-18-the-garden-of-eden-1121347.htm>.
Wilmerding, John. "Reflections on the American Landscape." Wall Street Journal. N.p., 25 Sept. 2010. Web. 25 Nov. 2012. <http://online.wsj.com/article/SB10001424052748703556604575502081408169148.html>.