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The Most Important Art in American Art
This dramatic landscape exemplifies the work of the Hudson River School. A stunning vista of rocky outcrops and precipitous mountains opens upon a waterfall, in the center right, breaking into a luminous pool that flows into the ocean on the left. A craggy ancient tree frames the right border, its twisted limbs curving vertically toward the darkly portentous sky. Native American figures, dressed in animal hides and armed with bows, occupy the lower third of the canvas, one outlined against the pink and blue patch of sky on the left, the others located beneath the two prominent trees. As art historians Elizabeth Mankin Kornhauser and Tim Baring wrote, the work is "a fine essay in the sublime: the rough, uncultivated landscape and dark, rolling clouds...convincingly represents an untamed wilderness." Precise detail reflects the influence of Naturalism, while what the artist described as its "flashing chiaroscuro and a spirit of motion pervading the scene, as though nature was just waking from chaos," reflects a Romanticist inspiration.
Art historian Carl Pfluger wrote that Cole "virtually invented a new style of landscape, specializing in views of the wilderness." The artist described the painting as "a vision of the earliest form of society, the 'perfect state' of nature, with appropriate savage figures." The portrayal of Native Americans and the description of them as "savage" played into the growing mythology of uncultured peoples who on one hand added something like authenticity to the landscape but on the other were not "civilized" enough and had to be removed as settlers moved West during the era of Manifest Destiny. Cole and the Hudson River School significantly influenced American environmental movements, as well as new art directions, including American Regionalism and Group f/64. Contemporary artists Charles LeDray, Stephen Hannock, and Angie Keifer have repurposed Cole's works, as seen in LeDray's Empire (2015).
Bellows' Cliff Dwellers, with its depiction of the gritty vitality of slum life, exemplifies the Ashcan School. In a neighborhood of tenement buildings, its denizens crowd into the streets, engaged in a variety of activities; some women and children sit on the steps, a mother admonishes her child at center, while working men and a street vendor throng in the background. Only a touch of horizon and sky remains between the vertical rows of apartments and the network of clotheslines that diagonally cross the street from building to building. As the people gather outside to avoid the heat in the stifling apartments, the brushwork, vibrant and vigorous, creates a sense of physicality. Apartment dwellers can be glimpsed in the upper levels of the buildings, as they seem to be caught up in private conversations or lean out of their apartment windows. The work reflects the impact of immigration in the era, as recent arrivals were densely crowded into slum neighborhoods. Yet as art critic Michael Kimmelman writes, "the joylessness of the subject is undercut by the soft light that streams into the scene and by the characters on the stoops and in the streets whom Bellows endows with more charm than misery."
Part of the second generation of the Ashcan School, Bellows used the group's then favored strategies in this work, employing a geometric compositional scheme as well as the "chords," or triads of complementary colors expounded by Hardesty G. Maratta's color theory. Yet, his fluid brushwork and vibrant color made his work distinctive, as he conveyed the robust swagger and energy of working class life.
This photograph has become famous both as a cultural document of immigration to America and as a pioneering work of American modernism and Straight Photography. The image is cropped to emphasize the diagonals of the gangplank horizontally crossing the frame while intersecting the massive column on the left, echoed by the stairway on the right intersecting the horizontal planes of the upper deck. The upper level, reserved for the well-to-do, seems peopled primarily by men, the shape of their hats catching the light as they look down into the steerage, where women and children, along with clothing hanging up at the left, create a sense of a lived-in space like a crowded tenement. Though the work highlights class and gender divisions, Stieglitz was primarily interested in its formal qualities, as its sharp focus converged on intersecting planes, shapes, and angles.
Around 1900 Stieglitz began using large format cameras and considered this his first truly "modernist" picture, as he said, "Intensely direct. Not a trace of hand work on either negative or prints. No diffused focus. Just the straight goods." He published the photo in Camera Work in 1911 along with several of his other photographs.