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ARHI 4916/6916 TOPICS IN 18-19th C ART:
AMERICAN LANDSCAPE PAINTING 1750-1870s:
Nature as Self, Nation, Enterprise and Other
WRITING INTENSIVE COURSE
FALL 2009 LAMAR DODD SCHOOL OF ART RM N104
MWF 10:10-11:00am
Dr. Janice Simon, Josiah Meigs Distinguished Teaching Professor
Office N322; open office hours W 2-4:30 542-1579 jsimon@uga.edu
Writing Intensive Assistant: Samantha Cole
CONTENT OF COURSE:
Americans have viewed the natural land—often defined first as
wilderness and then alternately as pastoral--not just as a space
to be seen or inhabited, but as a concept with which to define
self, nation, the other, and as a means of defining nature’s
“shadow side,” civilization. Puritan sermons used wilderness as
a fearful environment in order to promote right living and proper
settlement. Settlers began the transformation of wilderness into
domestic, pastoral space, and nineteenth century citizens began
a lament for the loss of nature’s purity and wildness that
continues today. Modern advertisements picture wilderness in
order to sell everything from cars to a much-needed peace of
mind. National Parks have become little “cities” in themselves
with traffic jams and gift shops galore. As Roderick Nash has
pointed out, “wilderness” is inherently subjective and elusive in
concept. “Nature” and “natural” are even more philosophically
problematic. Originally associated with danger and confusion,
wilderness alternatively came to designate a space of
uncommon tranquility and sacred revelation. Yet, the fearful
associations of the "howling wilderness" never completely
disappeared. Throughout the nineteenth-century, the conception
of wilderness as alternately bewildering and comforting became
integrated with the American landscape itself as national
aspirations helped to determine what Americans imaginatively
made of their continent and the landscapes of others. As
ecocritic William Cronon has remarked, wilderness is not
"natural"--it is a cultural invention; indeed, as the
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Transcendentalists understood, “Nature” itself is a construction
of the poetic mind. “Wilderness” and “American Landscape” are
products of and reflections of human desire and doubt.
Therefore, to investigate the development of American
Landscape Painting, and the natural environments that were its
subject, is to examine how conceptions of the other, self, and
enterprise intertwined with the identity of America from its
beginnings through the 1870s. This writing intensive lecture
course will examine the rise of landscape painting as America’s
premiere artistic contribution in the 19thC by investigating how
the painted views of wilderness and pastoral visions may have
served a variety of scientific, touristic, business, political,
economic, social, ecological, religious, aesthetic, and cultural
needs.
After an introduction on the beginnings of American landscape
imagery in the aesthetics of the sublime, the picturesque and the
beautiful, we will focus on the artists most associated with
19thC American landscape painting, the members of the socalled Hudson River School. We will examine the notion of place
in American culture and how artists like Thomas Doughty,
Thomas Cole, Asher B. Durand, Frederic Edwin Church, Martin
Johnson Heade, Sanford Gifford, John F. Kensett, Albert
Bierstadt and Thomas Moran used nature to convey political,
social, scientific, philosophical and spiritual ideas. The creation
of tourist spots like Niagara Falls, the Catskills, Newport Beach,
the Adirondacks and Yosemite/Yellowstone will be examined
especially regarding how artists played a part in their formation
as desirable vacation spots and development of the state and
national park systems. The use of nature as testament to
American national destiny will be studied as well as the
emerging interest in a more subjective, emotive and poetic
response to nature visible in the so-called luminists. Readings
will involve primary and secondary sources. Students will
research and write on an original painting from the High Museum
of Art or the Morris Museum of Art. There will be a cumulative
take home essay exam.
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COURSE REQUIREMENTS AND ASSIGNMENTS
This Lecture-Discussion course will require the full engagement
of each student. You will be graded based on the totality of your
performance including class participation and mandatory
attendance. If you miss more than 3 classes you may be dropped
with a WF. As a Writing Intensive Course the assignments will be
papers and essays; there will be no slide exams. There will be
several short papers (graded on a 5 pt scale) that will lay the
foundations for a longer, refined research paper on a single
landscape painting in the High Museum. In addition there will be
a take-home final essay exam that will count twice toward your
final grade. ALL PAPERS MUST BE NUMBERED AND STAPLED. I
WILL NOT ACCEPT THEM IF THEY ARE NOT (AND NO, I DO NOT
CARRY A STAPLER AROUND WITH ME).
Grades in the "A" range (A, A-) will be given only for consistently
excellent and superior work that demonstrates a supremely
intelligent engagement with the course material and issues, and
far exceeds expectations; "B" range grades will be for very good
to good work that exceeds an ordinary grasp of course material
and demonstrates an intelligent and clear engagement with
readings and assignments; "C" grades for fairly good to
satisfactory work that demonstrates a competent understanding
of course material and assignments; "D" & "F" grades for
unsatisfactory understanding of the material and very poor work,
as well as for not following assignment requirements, ignoring
deadlines and missing class.
WRITING ASSIGNMENTS: Each student will write a 8-12 page
[GRAD STUDENTS 10-15] Research Paper (graded as a full
100pts/A-F) on one landscape painting from a nearby museum
collection, applying formal, aesthetic and theoretical analyses
and placing it in its appropriate historical, philosophical and
ecological contexts. This paper which is a long term project will
demonstrate how the visual aspects of the landscape convey the
painting’s meaning and how this fits into the historical contexts
of the time, including its relationship to the artist’s own
landscape style, the theoretical conventions of landscape
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painting, ideas of place, other important influences such as
tourism, and any relevant ecological, political, social, economic,
and art historical contexts and/or spiritual beliefs. THIS IS DUE
ON NOV. 13 . You must turn in your graded first and third short
papers as well.
Everyone will have their “own” landscape to write about—the list
is below. They will be assigned on a first come basis. I MUST
HAVE YOUR CHOICE NO LATER THAN MONDAY AUGUST 24.
THIS ASSIGNMENT REQUIRES YOU TO TRAVEL TO EITHER THE
HIGH OR THE MORRIS MUSEUM TO SEE YOUR PAINTING
FIRSTHAND AND TAKE ELABORATE NOTES IN FRONT OF IT (with
pencil only please) and perhaps to revisit it.
UNDERGRADUATE CHOICES ALL AT THE HIGH MUSEUM OF ART
ALL WORKS ARE UP IN THE AMERICAN ART GALLERIES STENDT
WING 2 &3RD FLOORS:
Thomas Doughty Landscape 1829
Thomas Doughty Lake Scene 1833
Joshua Shaw, Romantic Landscape 1835
Asher B. Durand, Rutland Vermont 1837
T. Worthington Whittredge Landscape in the Harz Mountains 1852
Sanford R. Gifford Mt. Washington 1858
Regis Francis Gignoux Niagara Falls 1855
John Frederick Kensett Camel’s Hump from the Western Shore of
Lake Champlain 1852
Samuel L. Gerry North Conway, N.H. 1852
James F Cropsey Luccombe Chine, Isle of Wight 1861
William Trost Richards Lake Scene (Boating) 1861
James McDougal Hart The Old Homestead 1862
John Frederick Kensett The Seashore 1863
William Hart The Last Gleam 1865
William Bradford Coast of Labrador 1866
J. Linton Chapman Via Appia Way 1867
William Staley Haseltine The Sea from Capri 1875
Thomas Moran Fingal’s Cave, Island of Staffa, Scotland 1884-85
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GRADUATE STUDENT CHOICES ONLY:
AT THE HIGH:
Attributed to “Thomas Cole” The Tempest 1825-26
Elihu Vedder Waves at Palo 1874
William Louis Sontag On Valley River, VA 1864
Worthington Whittredge Beach and Rocks 1870-80
Martin Johnson Heade Two Hummingbirds with Orchid 1875
AT THE MORRIS MUSEUM, AUGUSTA GA:
William Charles A. Frerichs Southern Mt Landscape, NC 1860
Louis Remy Mignot Lowland Landscape with Deer 1860
Meyer Straus Bayou Teche 1870
Joseph Rusling Meeker Bayou Landscape 1886
In preparation for this research paper each student will write
four short paper assignments emphasizing various means of
analysis related to the art history of landscape painting. Each
assignment will be graded on a 1-5 pt scale 1=failing to 5=superb.
These short papers will be combined for a grade.
Paper 1: The first short paper (approx. approx 3-5 pages) will
ANALYZE (NOT JUST LIST OR DESCRIBE BUT HOW DO THESE
ELEMENTS INTERACT TO MAKE UP THE WHOLE WORK OF ART?)
the various elements of the landscape painting as to
composition, scale (just listing the measurements tells us
nothing—what is its relationship to your body/pt of view), painting
technique, use of light, color, way forms of nature are
articulated, use of figures, buildings, animals, point of view
assigned to the spectator etc. The last paragraphs will place this
work within the artists’ career—that is, is this typical? Unusual?
Early or late in the career? You should cite a few works by the
artist for comparison (and include images). DO NOT USE THE
PHRASE “I FEEL” EVER.
DUE IN CLASS ON WED SEPT 9.
Paper 2: will be a 1-2 page proposal of the thesis itself (the ideas
you will be arguing and researching about your landscape
painting) of your final research paper. Your paper should aim to
place your painting into A CONTEXT IN WHICH ORIGINAL IDEAS,
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RESEARCH, OR EVALUATION IS MADE: all papers will need to
place the individual painting within the artist’s career but you
need to go beyond that and may focus on a particular aspect of
its touristic, political, social, ecological, economic, philosophical,
and/ or art historical contexts. Only discussing whether it fits the
categories of the sublime, picturesque and beautiful is NOT
acceptable, though these conventions may play a part in the final
argument of your thesis. You will present this thesis proposal
paper to me in an office meeting along with a written out
bibliography of significant sources (including at least 4 journal
articles (art historical) or book chapters in an anthology of
different artists–not book chapters in Novak). Not all of the
sources need to be on your painting—in fact you will find very
little on your painting proper or even on your artist. You may be
asked to revise your thinking about your painting along with
additional research sources. I will keep these proposals to refer
back to when reading the final research paper. EVERY ONE WILL
MEET WITH ME NO LATER THAN SEPT 14-23. A SIGN UP SHEET
WITH SPECIFIC TIMES WILL BE ON MY DOOR. ALL APPTS MUST
BE SET UP BY SEPT 11. YOU ARE EXPECTED TO HAVE YOUR
PAPER AND BIBLIOGRAPHY TYPED OUT WHEN YOU MEET WITH
ME. JUST BRINGING BOOKS & XEROXES IN IS NOT
ACCEPTABLE!!
Paper 3: Evaluate how your landscape painting applies and
follows the landscape conventions of the Sublime, the
Picturesque, and the Beautiful as established by early artists and
theorists. In addition special attention should be paid to Thomas
Cole’s Essay on American Scenery and his categorization of
natural elements. You must use brief quotations from primary
source readings to justify your assertions. (3-5 pages) This is due
in class on SEPTEMBER 30.
Paper 4: will be a 3-5 pg annotated bibliography for your painting.
You must have at least 12 significant sources and must have at
least 6 journal articles and/or book chapters from anthologies.
Primary sources such as art reviews, diaries, letters, and books
from the 19thC are highly encouraged and for graduate students,
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expected . Your sources will have the correct bibliographic
format (Chicago Manual of Style). You will write a paragraph
about each source and its applicability for your research paper
and in particular the thesis of your topic as has been refined
after our thesis meeting (Paper 2) (and a copy of this refined
thesis topic will be attached to the annotated bibliography)—
what unique perspectives does the research source contribute to
an understanding of your artist and the specific landscape
painting? OCTOBER 9 Ms. Cole will go over citations and
annotated bibliographic formats. ANNOTATED BIBLIOGRAPHIES
ARE DUE OCTOBER 19TH.
Students are highly encouraged to discuss the structure of your
research paper, how to arrange your argument, with Ms. Cole.
She is especially trained to help you. In addition, both of us will
be happy to discuss your ideas and research as you work on this
process. REMEMBER RESEARCH PAPER DUE NOV 13.
TAKE HOME ESSAY: DUE FRIDAY DEC 11 IN MY OFFICE NO
LATER THAN 3:30 PM
The essay question will be handed out by Nov 20.
The Take Home Essay will require you to synthesize the entire
course material by placing several images by artists we have
studied in their historical and philosophical contexts. Readings,
images we’ve studied and ones that we haven’t will figure into
the final question (and there will be some type of choice
involved). The Take Home Essay will be counted twice towards
your final grade.
Readings: There is a substantial amount of reading for this
course. In addition to reading necessary for your paper research
there will be readings assigned throughout the semester, some
writings of the period including poetry and nature essays, others
articles or book chapters by art historians. Numerous books will
be placed on Main Library Course Reserves. MANY OF THE
READINGS WILL BE ACCESSED THROUGH WEBCT. Electronic
access will be available for specific essays including JSTOR. You
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are also to read Barbara Novak, Nature and Culture: American
Landscape Painting 1825-1875 throughout the course.
LECTURE SCHEDULE (may be altered at any time for any reason):
Aug 17: Introduction: how to analyze a landscape painting
Aug 19: Early conceptions and Views of American Wilderness:
Scenographia Americana by Hervey Smith, Thomas Pownell and
Paul Sandby
Aug 21, 24: Military Sights and Ordering Nature: Thomas Davies
(1737-1812) REQUIRED READING: WEBCT --EDMUND BURKE,
SELECTIONS ON THE SUBLIME
Aug. 26, 28: William Gilpin’s Picturesque Tour and American
Scenery: Joshua Shaw (1777-1860)
REQUIRED READING: WEBCT GILPIN
Aug. 31, Sept 2, 4: Representing Niagara Falls: Early
Conceptions of The American Sublime
REQUIRED READING: WEBCT SELECTIONS ON NIAGARA FALLS
Sept. 7 LABOR DAY, NO CLASS.
Sept. 9: 1st Paper Due In Class. Researching American Art—
Sources, Databases, Archives of American Art
Sept. 11-14: Creating “American Landscape Painting”: Thomas
Doughty (1793-1856)
SHOULD HAVE COMPLETED NOVAK PART 1
PAPER 2: PRESENT TO PROFESSOR SIMON IN APPTS.SEPT 14-23
Sept. 16-21: “A Higher Sort of Landscape Painting”: Thomas Cole
(1801-1848) Tourism in the Catskills and White Mountains, and
Bunyan’s Pilgrim’s Progress for Jacksonian America
READ: NOVAK CHPTS 7 & 9 ; WEBCT COLE “ESSAY ON AMERICAN
SCENERY”; ALAN WALLACH COLE & THE ANTI-PASTORAL
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Sept. 28-Oct. 2: Thomas Cole’s Italian Arcadias and Allegories
READ: NOVAK CHPT 8.
Sept 30: PAPER 3 DUE IN CLASS
Oct. 5-7; 12-16: “Forest Hymns”: Asher B Durand (1796-1886),
William Cullen Bryant (1794-1878) and the UnitarianTranscendentalist View
READ: NOVAK PART 2 CHPTS 4-6; READ WEBCT DURAND LETTERS ON
LANDSCAPE PAINTING; WILLIAM CULLEN BRYANT POETRY
GRADUATE STUDENTS READ GEORGI ON DURAND AND ART CRITICISM
Oct 9: CITATION AND ANNOTATION WORKSHOP IN CLASS
Oct 19-28; Nov 2-4: Manifest Destiny: Frederic Edwin Church
(1826-1900) and the New England Way.
READ: WEBCT ART CRITICISM ON CHURCH
Oct 19: PAPER 4 DUE IN CLASS
Oct 30: NO CLASS FALL BREAK HAPPY HALLOWEEN
Nov. 6- 13 Sweetness and Light: John Frederick Kensett (18161872), Sanford R. Gifford (1823-1880), the Crayon (1855-1861)
and the problem of “Luminism”
RESEARCH PAPER DUE NOV 13 IN CLASS
Nov. 16-20 Church’s Scientific Enterprise: Painter of “the Heart
of the Andes”, Alexander Von Humboldt’s Cosmos, and the Polar
North
READ: WEBCT THEODORE WINTHROP ON “HEART OF THE ANDES”;
SELECTIONS FROM HUMBOLDT & NOBLE
Nov. 20 TAKE HOME ESSAY QUESTION HANDED OUT IN CLASS
Nov. 23-27 NO CLASS HAPPY THANKSGIVING
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Nov. 30, Dec. 2, 4: Martin Johnson Heade’s (1819-1904) Civil War
Storms, Harvests & South American Paradises
Dec. 7 & 8: “To Kingdom Come” in Yosemite & Yellowstone:
Albert Bierstadt (1830-1902) & Thomas Moran (1837-1926)
TAKE HOME ESSAY DUE DEC 11 NO LATER THAN 3:30 PM MY
OFFICE N322.