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Part of The American Wing
Hiram Powers (American, Woodstock, Vermont 1805–1873 Florence)
Date: 1838–44, carving after 1844Accession Number: 1982.443.2
Albert Bierstadt (American, Solingen 1830–1902 New York)
Date: 1863Accession Number: 07.123
Jasper Francis Cropsey (American, Rossville, New York 1823–1900 Hastings-on-Hudson, New York)
Date: 1865Accession Number: 66.113
Emanuel Leutze (American, Schwäbisch Gmünd 1816–1868 Washington, D.C.)
Date: 1851Accession Number: 97.34
Frederic Edwin Church (American, Hartford, Connecticut 1826–1900 New York)
Date: 1859Accession Number: 09.95
Date: 1834–35; executed, 1839Accession Number: 94.14
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Peter Jay Sharp Foundation Gallery
After 1850, artists of the Hudson River School looked for inspiration farther from home, seeking to measure the experience of their own regional and national landscapes against wilderness experiences in the West, the Arctic, and the Andes. They also traveled to Europe, confronting and interpreting long-venerated Old World sites. During the Civil War era, landscape painting attained unprecedented status in American art. Leading artists, including Frederic Edwin Church and Albert Bierstadt, employed larger canvases to promote expanding notions of landscape that rivaled history paintings (such as Emanuel Leutze's Washington Crossing the Delaware) in both scale and message. Their entrepreneurial spirit resulted in the "great picture"—a reference to size but also to the maker's ambitions, America's cultural aspirations of eminent domain, and the quest to preserve the Union. Artists showed large paintings—as well as sculptures—in theatrical settings and charged admission to see them. More Neoclassical sculpture of this period is on view in The Charles Engelhard Court (700 and 701).
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