American Hudson River School Painter, 1826-1900 ..American painter. He was a leading representative of the second generation of the HUDSON RIVER SCHOOL, who made an important contribution to American landscape painting in the 1850s and 1860s. The son of a wealthy and prominent businessman, he studied briefly in Hartford with two local artists, Alexander Hamilton Emmons (1816-84) and Benjamin Hutchins Coe (1799-1883). Thanks to the influence of the Hartford patron DANIEL WADSWORTH, in 1844 he became the first pupil accepted by Thomas Cole. This was an unusual honour  Related Paintings of Frederic Edwin Church :. | Home | July Sunset, Berkshire County, Massachusetts | Erechtheum Frederic Edwin Church | Cotopaxi | a country home |
Related Artists:
Thomas Danby
(c. 1818 - 25 March 1886) was an English landscape painter. Danby was born, it is thought, in Bristol in south-west England, the younger son of Francis Danby (1793-1861). He had an elder brother, James Francis Danby (1816-75) who also became a landscape painter. Thomas went with his father to Europe in 1829, living for a time in Paris where he was able to earn a living by copying pictures at the Louvre in Paris. He thus became an earnest admireer and "student" of Claude Lorrain, whose aerial effects he sought to imitate. Returning to England about the same time as his father, he first exhibited at the British Institution in 1841, and afterwards frequently at the Royal Academy from 1843. He was a friend of Paul Falconer Poole, with whom he shared a house in Hampstead in 1843, and imbibed not a little of his romantic feeling for nature. From 1855 to his death, Danby resided in or near Hampstead in north London.. The subjects of his landscapes were usually taken from Welsh scenery, especially the old county of Merioneth; his pictures for the most part were not ideal compositions (unlike his father's work) but actual scenes pervaded with a true romantic spirit. "He was always trying" says the writer of his obituary in The Times newspaper, "to render his inner heart's feeling of a beautiful view rather than the local facts received on the retina." He came, it is said, within one vote of election as an Associate of the Royal Academy (ARA) but, failing eventually to attain Academy honours, he devoted himself in his latter years chiefly to watercolour painting. He became a member of the Royal Hibernian Academy in 1860, an associate of the Society of Painters in Watercolours in 1867, and a full member of the latter in 1870; until his death his contributions were prominent amongst the works at the society's exhibitions. Danby died of a chest complaint, terminating in dropsy on 25 March 1886. He had been twice married, and had 2 daughters and a son from the second marriage.
Henry Sargent
1770-1845 Henry Sargent Gallery Henry Sargent (baptized November 25, 1770 ?? February 21, 1845), American painter and military man, was born in Gloucester, Massachusetts. One of seven children born to Daniel and Mary (Turner) Sargent and the brother of Lucius Manlius Sargent, he was a great-grandson of William Sargent, who received a grant of land at Gloucester in 1678. His father was a prosperous and public-spirited merchant. Henry was sent as a young boy to Dummer Academy, South Byfield, and then, the family having moved to Boston, he continued his studies under local teachers. After a period in the counting house of Thomas Handasyd Perkins, he continued his commercial apprenticeship with his father, but suddenly, as he was attaining his majority, without having previously shown special partiality for the arts of design, he determined to become an artist. An elder brother's efforts in this direction seem to have stimulated him, and his mother encouraged him. John Trumbull, who visited Boston in 1790, saw some of his work and found it promising. In 1793 Sargent went to London, where he studied with Benjamin West and had courteous treatment from John Singleton Copley. A letter of Sargent's dated March 27, 1795 shows that he found living in London expensive and the painter's profession much depressed. He returned to Boston in 1799, still strongly conscious of "the apathy then existing towards the arts". Accordingly, in that same year he took a commission in the national army then being raised under the command of Alexander Hamilton. This service was brief, but it gave Sargent a taste for military life which motivated his long connection with the Massachusetts militia. In or shortly after 1799 he joined the Boston Light Infantry, which had been organized the year before and of which his brother, Daniel Sargent, was captain. Records of the adjutant-general's office in the Massachusetts State House show that Henry Sargent became first lieutenant of this company on October 1, 1804, and captain on March 31, 1807. Of a tall, thin, Yankee build, he was a handsome officer and an efficient drill master. During the War of 1812 his company aided in the fortification of Fort Strong, and on May 31, 1815, he was appointed aide-de-camp to the governor, with the rank of colonel. In 1812, 1815, 1816, and 1817 he was a member of the Massachusetts Senate. On April 2, 1807, Sargent married Hannah, the daughter of Samuel and Isabella (Pratt) Welles, of Boston, and they had two daughters who died in infancy and two sons, one of whom was Henry Winthrop Sargent. In the course of the following decade, growing deafness caused him gradually to withdraw from public services and to devote himself entirely to his painting and to mechanical inventions; he achieved no particular fame in the latter field. His painting was that of a diligent and gifted artist whose talent fell short of genius. His portraits were less masterful than those of his fellow townsman, Gilbert Stuart, with whom he was personally intimate. Like Copley, whom he somewhat resembled as a painter, Sargent enjoyed intensive elaboration of textures and accessories. He had a capacity for doing canvases that required sustained effort. The well-known Landing of the Pilgrims, at Pilgrim Hall, Plymouth, attributed to him, is not representative of his best work. Far better are the two conversation pieces, The Dinner Party (ca. 1821) and The Tea Party (ca. 1824), owned by the Museum of Fine Arts, Boston. These have something of the exquisiteness of the so-called Little Dutchmen and they give fascinating glimpses of social life in Boston homes of the early 19th century. An altar painting, The Christ Crucified, which Sargent made for the Holy Cross Church, Boston, won contemporary favor. The full-length portrait of Peter Faneuil, in Faneuil Hall, if by Sargent, to whom it is ascribed, must be a copy after John Smibert. Sargent's self-portrait is at the Museum of Fine Arts; his likenesses of Jeremy Belknap, D.D., and John Clarke, D.D., both friends of his parents, are at the Massachusetts Historical Society. Continuing to paint at intervals down into old age, he was elected in 1840 an honorary member of the National Academy of Design and in 1845, president of the newly-organized Artists' Association of Boston.
James Peale
1749-1831 James Peale Galleries James Peale (1749 ?C May 24, 1831) was an American painter, best known for his miniature and still life paintings, and a younger brother of noted painter Charles Willson Peale. Peale was born in Chestertown, Maryland, the second child, after Charles, of Charles Peale (1709?C1750) and Margaret Triggs (1709?C1791). His father died when he was an infant, and the family moved to Annapolis. In 1762 he began to serve apprenticeships there, first in a saddlery and later in a cabinetmaking shop. After his brother Charles returned from London in 1769, where he had studied with Benjamin West, Peale served as his assistant and learned how to paint. Peale worked in his brother's studio until January 14, 1776, when he accepted a commission in the Continental Army as an ensign in William Smallwood's regiment. Within three months he was promoted to captain, and during the next three years fought in the battles of Long Island, White Plains, Trenton, Brandywine, Germantown, Princeton, and Monmouth. He resigned his army commission in 1779, and moved to Philadelphia to live with his brother. In 1782 he married, after which he established his own household and artistic career. (One notable later collaboration, however, was in 1788 to make floats for Philadelphia's Federal Procession in honor of the newly drafted United States Constitution.) At the outset of his career Peale painted portraits and still-life, and by the mid-1780s had established his reputation. At about this time, however, Charles turned over his own miniature portrait practice to him, and throughout the 1790s and early 1800s Peale devoted himself to miniature painting. Much of this work was watercolor on ivory. In 1795 Peale exhibited a still life of fruit along with nine miniatures and his family portrait at the Columbianum, a short-lived art academy in Philadelphia. Around 1810, as Peale's eyesight began to weaken, he gave up painting miniatures to turn to large portraits and still-life subjects that were greatly admired and widely exhibited in Philadelphia, Boston, and Baltimore. The total number of Peale's landscape paintings remains unknown, but he executed more than 200 watercolor miniatures on ivory, perhaps 100 still-life paintings, fewer than 70 oil portraits, and at least 8 history paintings. Peale died in Philadelphia on May 24, 1831. Three of his six children became accomplished painters: Anna Claypoole Peale (1798?C1871), a miniaturist and still-life painter; Margaretta Angelica Peale (1795?C1882), painter of trompe l??oeil subjects and tabletop fruit; and Sarah Miriam Peale (1800?C1885), a portraitist and still-life painter.