By exhibiting the portraits of the nations’ first presidents along with this painting, Church is making a statement that areas of South America should be considered as areas of expansion for the United States. During the 1840s America had added a vast amount of new territories to the nation and landscape paintings during the 1840s and 1850s must be understood within the historical context of Manifest Destiny. When Church exhibited Heart of the Andes in New York City he displayed portraits of the first three presidents of the United States above the work. But there is also political meaning within this work. Like Durand, Church is a transcendentalist artist who believed that by studying the details of nature, especially in Ecuador where there was such a variety of complex environmental observations to be made, that you could reflect on the divine plan of God and his creation. Photograph of Heart of the Andes exhibited in 1864 As such, Durand is classified as a transcendentalist artist. This way of thinking was very much in line with the writings of Ralph Waldo Emerson (1803–1882) and Henry David Thoreau (1817–1862). Durand introduced this detailed, scientific approach to landscape painting because he believed that the divine could be revealed through a close study of nature. While he created idealized, composed, landscapes, his representations of plants and trees are scientifically accurate. Durand encouraged the scientific study and reproduction of elements in nature. Durand (1796–1886) is another artist who infused deeper meanings into his landscape paintings. While this work may be read as an allegory, it also reflects Thomas Cole’s view that America was susceptible to imperialism-as brought on by figures like Andrew Jackson-and eventual decline.Īsher B. Cole saw Andrew Jackson as a figure who was contributing to the rise of imperialism and endangering America. Jackson was a very controversial figure, who was absolutely detested by members of the Whig Party.
Cole produced this work while Andrew Jackson was serving as the President of the United States. He believed that small, agricultural communities were the ideal society and ensured the safety of the Republic.
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While the series as a whole expresses a cyclical view of history, scholars have noted that the series likely reflects Cole’s own contemporary political views. The Course of Empire is a series of five paintings created between 18 that charts the rise and fall of an ancient civilization. Later in his career, Cole began to use landscape as a way to express themes and allegories. The landscape painting "The Lock" by John Constable sold for $34.Thomas Cole, The Consumption of the Empire, from the series The Course of Empire, 1833–1836.In the mid-19th century, artists like Frederic Edwin Church and Thomas Cole took advantage of the wide open American lands to paint the new frontier in a way that was both dramatic and romantic.His paintings were known to be charming and visionary, accented with golden light Dutch artist Aelbert Cuyp was considered one of the most poetic landscape artists of the Dutch Golden Age.By the end of the century, the actual, physical landscape itself could be a work of art, as art leapt from the canvas and into the world. In the 20th century, artists reduced landscape to pure abstraction. In the United States, paintings of the American West rhymed with the ideas of transcendentalism and manifest destiny. German artists imbued their landscape scenes with Romantic storm and drama. The Impressionist works were dazzling ethereal studies of light, and they are extremely rare on the market.
In France, the Barbizon School and then the Impressionists carried tubes of paint into the countryside, creating landscapes from life. Landscape became important in the 19th century. Artists in the Dutch Golden Age – the 1600s – painted landscapes with vast, moody skies on small canvases for display in wealthy homes.
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In "The Harvesters," 1565, Peter Breugel the Elder created perhaps the first modern landscape, with a full foreground, middle ground, and background. Idealized landscapes originated in the Netherlands, as Protestants in the area demanded a more secular option to religious works. Landscape painting began to develop during the Italian Renaissance, when artists began depicting religious and historic events in a landscape setting.
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