Frederic Edwin Church. The River of Light. (1833). Hudson River School.
Church is devoted very young painting. In 1844, at 18 years, he becomes the pupil of Thomas Cole. He belongs to “the Hudson river School ” whose Cole is one of the founders and Frederic Church quickly becomes one of the central figures about it.
Thomas Cole wanted to renew the kind of the American painting of landscape, it travels to Europe and studies Poussin, Le Lorrain andTurner. He discovers the panoramic landscape. On its return its paintings become imposing and their contents are very near to the fantastic one. (Falls of Catskill, 1826). Church differs from its Master by his almost scientific approach of nature, its objective study of the effects of the light is of a quasi photographic precision. In that it is very close to Turner, it’s also by its vaporous effects of fog or fog and by the proximity of water, very concrete in its subjects. Church by its technique announces Photorealism or Suprealism. (Links)
The point of view of the spectator is just in lower part of the horizon.
The horizon is just with the top of the higher tension field.
The sun and its reflections in water are positioned on the right vertical tension field.
In the foreground the vegetation of the shore is near the natural point of left lower interest.
Pictorial space is distributed in an almost mathematical way.
Half for nature of each with dimensions of the painting on the left and on the right, a quarter for the sky in top and another quarter for water in bottom.
The painting irradiates abundantly and diffuses so much light which the eye of the spectator follows instinctively the rays of the sun and all the reflections of those.
As well in the sky, on the water and around the details of the vegetation the illumination and lighting underline and emphasize multiple details. Lighting multiplies
and the emotion amplifies that the beauty of nature gives birth to at the observer.
As the landscape transmits feelings and becomes thus poetic one can speak about a romantic landscape which seeks to create an atmosphere and which exacerbates the feelings.
The reflections of the light underline the shapes of the sheets of this young palm tree. The brush of the artist acts like the objective of a camera.
This sheet is in full light. 2 tropical birds perched on its stem are them also enlightened.
The reflections of the sun rays in water produce colors going of blue to the pink and an effect vaporous. The painter is very near to Turner.
These birds are flying away, they induce movement.
The glare of this sun which rises through the clouds irradiates and floods all the panting. The sun is already high in the sky the light comes from in top and the center.
Colors : Harmonize between cold colors.
Harmonize and Contrasts. The carryforward of the colors used to work out the painting on the chromatic circle indicates a harmony between cold colors very clear.
Similar paintings :
Frederic Edwin Church. Icebergs.
Same rules of composition for this painting of the great cold.
The Nature of Each dimensioned, a sky rougeoyant, a pink sea of the bluish reflections on snow. There exists also the same one perforated in the landscape which makes it possible taking into consideration to be lost in the distance.
Frederic Edwin Church. Twilight in the Wild World.
The setting sun sets ablaze the sky of this twilight and is reflected in the river. The mountains with far and on the 2 with dimensions ones frame this remarkable composition. In the foreground the trees guide the glance and give depth of field.
Caspar David Friedrich. The Morning.
Romantic painter landscape designer German Caspar David Friedrich (1774 - 1840) is very influenced by Philipp Otto Runges. These works go from a dark foreground to a clear background while passing by a very coloured center. The fog often extend on the painting a mysterious veil. The central idea of all its compositions is the search of a released heart.