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ALT A Holiday depicts one of the beach scenes for which Edward Henry Potthast was best known. Capturing a quintessentially Impressionist setting—a sun-dappled landscape with women and children enjoying leisure time—the artist also utilized the movement’s technique of broken brushwork and the use of brilliant colors. In the painting the children converse and frolic at the water’s edge on a windy day. There is nothing threatening about the waves or wind; indeed, Potthast’s paintings were both praised and criticized for presenting nothing other than a pleasant, innocent, and optimistic view.
ALT Between 1850 and 1878 Daubigny painted nearly one hundred views of various sites along the Seine. Of these, the village of Portejoie is the farthest from Paris, about fifty miles away; it appears in at least seventeen of his paintings.
ALT Charles-François Daubigny was one of the painters of the Barbizon school, and is considered an important precursor of impressionism. He was also a prolific printmaker, mostly in etching but also as one of the main artists to use the cliché verre technique. Daubigny was born in Paris, into a family of painters and was taught the art by his father Edmond François Daubigny and his uncle, miniaturist Pierre Daubigny. Initially Daubigny painted in a traditional style, but this changed after 1843 when he settled in Barbizon to work outside in nature. Even more important was his meeting with Camille Corot in 1852 in Optevoz (Isère). On his famous boat Botin, which he had turned into a studio, he painted along the Seine and Oise, often in the region around Auvers. From 1852 onward he came under the influence of Gustave Courbet.
ALT Meléndez’s refined still life embodies an elegant, courtly mode of eighteenth-century Spanish painting. It dates from the moment that he received a commission of forty-four still lifes to decorate the royal palace and former hunting lodge of Aranjuez. This painting is exceptional, however, for its grand size and the inclusion of a luscious landscape. A picnic basket justifies the work’s traditional title, The Afternoon Meal (in Spanish, La Merienda), and evokes aristocratic excursions away from Madrid’s summer heat, while the local produce and traditional cookware deliberately ennoble Spanish culture.
ALT This windy scene of a lone figure struggling in the face of a storm would have held special meaning for nineteenth-century viewers, who believed that their nation's landscape was infused with God's presence. In 1886, the year he painted Approaching Storm, Edward Mitchell Bannister wrote an essay titled "The Artist and His Critics," in which he argued that spiritual expression is the artist's ultimate goal. (Hartigan, Sharing Traditions, 1985)
ALT Grove near Lucerne — Robert Zünd (Swiss, 1827–1909), an idealized woodland landscape from the countryside around Lucerne, painted in Zünd's highly naturalistic, richly detailed style, known for his masterful treatment of dappled light and shadow in forest scenes.
ALT In the 1850s, the Lackawanna railroad company commissioned George Inness to create a series of landscape paintings that celebrated the country’s rapid development and progress. Even as Inness worked on this commission, he began moving away from the more realistic style of his teacher Asher Brown Durand and towards looser brushwork and darker, more atmospheric compositions. Inspired by the writings of American philosopher William James, who famously coined the term “stream of thought,” Inness began shunning all signs of industrial presence in favor of paintings that made the landscape a metaphor for human consciousness. Pastoral Scene is a transitional work for Inness, and the painting’s juxtaposition of a verdant tree with a branch stripped bare hints at Inness’ increasing ambivalence about industrialization.
