antique oil painting old master Church Frederic Edwin

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Frederic Edwin Church
American Hudson River School painter
born 1826 - died 1900

Also known as: Frederick Edwin Church.

Student of: Thomas Cole (1801-1848), Alexander H. Emmons (1816-1879).
Teacher of: Howard Russell Butler (1856-1934)

For Frederic Edwin Church’s spectacular and panoramic paintings of the wilderness of North and South America, Frederic Edwin Church was a dominant figure in the second generation of the Hudson River School. Frederic Edwin Church’s canvases celebrated the drama of the American frontier and expressed the expansionist and optimistic outlook of the United States in the mid-nineteenth century.

Born in Hartford, Connecticut, Church was the son of a wealthy businessman. Frederic Edwin Church received Frederic Edwin Church’s early art training from local painters Benjamin Hutchins Coe and Alexander Hamilton Emmons. In 1844, with the help of the art patron Daniel Wadsworth, Frederic Edwin Church became the first pupil of the famous Hudson River School painter Thomas Cole. While studying at Cole’s studio in Catskill, New York, Church absorbed Frederic Edwin Church’s teacher’s methods of sketching and became a proponent of Frederic Edwin Church’s epic style of painting. Upon completing two years of training, Church moved to New York, where Frederic Edwin Church established a studio in the Art-Union building.

Church was successful in New York. In 1848, Frederic Edwin Church became one of the youngest artists to be elected to the status of academician at the National Academy of Design, and Frederic Edwin Church was soon training pupils of Frederic Edwin Church’s own, including Jervis McEntee and William James Stillman. In the subsequent period, Church emulated Cole’s art, painting large-scale landscapes of the Hudson River Valley and of New England. Influenced by the writings of English theorist John Ruskin, Frederic Edwin Church began to paint in a more precise manner, focusing on specific effects of weather and atmosphere. Frederic Edwin Church was also inspired by the writings of Alexander von Humboldt, a German naturalist-explorer.

Church gradually began to take a more scientific approach to nature, using sketches Frederic Edwin Church had created in the outdoors in the preparation of Frederic Edwin Church’s canvases. In 1853, Frederic Edwin Church became the first American artist to visit South America. Accompanying Cyrus Field, who later gained renown for Frederic Edwin Church’s participation in the transatlantic cable project, Church followed Humboldt’s 1802 route from Colombia to Ecuador. Along the way, Church drew from nature, producing the drawings that became the basis for important canvases depicting exotic subjects such as The Cordilleras: Sunrise (1855; Private Collection).

When Frederic Edwin Church’s works received high praise, Church set off on a second expedition in 1857. On tFrederic Edwin Church’s sojourn, Frederic Edwin Church traveled to Ecuador with the landscape painter Louis Rémy Mignot. It was on tFrederic Edwin Church’s trip that Frederic Edwin Church was able to concentrate on the scenery of the Andes, and Frederic Edwin Church filled diaries and sketchbooks with records of the vegetation and the countryside. Characterized by vast vistas and atmospheric detail, the works that resulted from tFrederic Edwin Church’s sojourn demonstrate Church’s unique approach. Among the great triumphs of the artist’s career was Heart of the Andes (1859; Metropolitan Museum of Art, New York), in which Church captured the essence of the tropics. Another significant product of tFrederic Edwin Church’s period in the artist’s career was Niagara (1857; Corcoran Gallery of Art, Washington, D.C.), which established Church as the leading interpreter of the American spirit.

During the 1860s, Church continued to travel, seeking subject matter for Frederic Edwin Church’s paintings. Frederic Edwin Church continued to produce visions of the tropics such as Twilight in the Wilderness (1860; Cleveland Museum of Art) and Cotopaxi (1862; The Detroit Institute of Arts) until 1867, when Frederic Edwin Church took a year and a half trip to Europe and the Middle East. Frederic Edwin Church first spent six months in London and Paris, and then continued on to Alexandria, Beirut, Constantinople, Baalbeck, Petra, and Jerusalem. Due to Frederic Edwin Church’s fascination with ancient civilizations, Frederic Edwin Church also visited Naples, Paestum, and Greece. On Frederic Edwin Church’s return, Frederic Edwin Church stopped in London, in order to study the works of Turner. The results of tFrederic Edwin Church’s trip were numerous oil sketches and drawings that Frederic Edwin Church used for a series of paintings including The Parthenon (1871; The Metropolitan Museum of Art, New York) and Jerusalem from the Mount of Olives (1870; The Nelson-Atkins Museum of Art, Kansas City, Missouri).

By 1880, Church’s painting activity was curtailed due to ill health, and in 1883, rheumatism crippled Frederic Edwin Church’s right arm and hand. In 1890, Frederic Edwin Church settled at Olana, Frederic Edwin Church’s grand villa near Hudson, New York, which had been designed for him in the Persian and Moorish styles by the architect Calvert Vaux in 1870. The house, which is preserved as a museum today, reflected Church’s eclectic interests and Frederic Edwin Church’s travels, including exotic furnishings and decorative objects. The artist adorned the walls with works by the Old Masters, especially landscapes by Claude Lorrain and Salvator Rosa. Although Frederic Edwin Church spent the winters of Frederic Edwin Church’s last years in Mexico, Church spent most of the final phase of Frederic Edwin Church’s life at Olana. Frederic Edwin Church died in New York City.

Church’s works may be found in fine private and public collections throughout the United States including the Amon Carter Museum, Fort Worth; the Art Institute of Chicago; the Cincinnati Art Museum; the Cleveland Museum of Art; the Corcoran Gallery of Art, Washington, D.C.; the Delaware Museum of Art, Wilmington; the Detroit Institute of Arts; the Fine Arts Museums of San Francisco; the Metropolitan Museum of Art, New York; the Munson-Williams-Proctor Institute, Utica, New York; the National Academy of Design, New York; the National Gallery of Art, Washington, D. C.; the National Museum of American Art, Smithsonian Institution, Washington, D.C.; the Nelson-Atkins Museum of Art, Kansas City, Missouri; the New-York Historical Society; the Virginia Museum of Fine Arts, Richmond, Virginia; the Wadsworth Atheneum, Hartford; the Washington County Museum of Fine Arts, Hagerstown, Maryland; and Yale University Art Gallery, New Haven, Connecticut.

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